Saturday, January 23, 2016

30 Works, RELIGIOUS ART - Paintings from the Bible, with footnotes, 7

'La Colosal (Immaculate Conception)'. Seville Museum of Fine Arts © Ministerio de Cultura
Bartolomé Esteban Murillo (1617  – 1682)
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

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

The Finding of Moses
Lawrence Alma-Tadema (1836–1912)
The finding of Moses, c. 1904
oil on canvas
137.5 × 213.4 cm (54.1 × 84 in)

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

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

Follower of Frans Francken the Younger | lot | Sotheby's:
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.

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.

This is a depiction of King Solomon, who prays to a gold idol on a pedestal on his knees and swinging a censer. He is surrounded by women representing his second vice which is the polygamy. In the bible this vice is mentioned on the very spot with his idolatry. (1 Kings 11, 1-13) 

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

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

SOGLIANI, GIOVANNI ANTONIO - Florence 1492 - 1544
Madonna and the Child and John the Baptist as a boy.
Oil on wood. 
74,5 x 56cm.

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

SEGHERS, GERARD, Antwerp 1591 - 1651 - circle 
Mary and the Child. 
Oil on canvas
125 x 92,5cm

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

GERMAN MASTER 
1st half of the 19th century 
Young Female Vintner in front of a Broad Campagna Landscape. 
Oil on canvas
133 x 98cm.

STEENWYCK, HENDRICK VAN II. , 1580 - 1649 Leyden 
Salome with the Head of John the Baptist. 
Oil on wood. 
41 x 62cm. 
Signed lower right in the stone bank by the window: H. V. Steenwyk.


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

FLORIS, FRANS, Antwerp 1516 - 1570 
St. Jerome
Oil on wood. 39 x 28,5cm.

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

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

LISAERT, PIETER, Antwerp 1595 - 1629 - attributed 
Jephta Sees His Daughter. 
Oil on wood
 49 x 64cm

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

File:Pieter Lisaert IV - De gelijkenis van de wijze en dwaze maagden.jpg
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)


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

By Giovanni Battista Tiepolo, c.1735-9. National Gallery, London:
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

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

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

Coming Home
Stephen Boyling
Coming Home

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

Gentile da Fabriano Adoration.jpg
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

Botticelli, madonna della melagrana 01.jpg
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

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

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

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

Italian (Florentine) School
Madonna and Child with a Pomegranate, c.1525
Oil on panel
102 x 83 cm
National Trust, Manvers, Rotherham, UK

The Virgin and Child with a Pomegranate
probably about 1480-1500, Workshop of Sandro Botticelli
probably about 1480-1500
Tempera on wood
Dimensions67.9 x 52.7 cm

The-Virgin-of-the-Pomegrana
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

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

Fra Angelico (c. 1395 – February 18, 1455) see below

Funeral-of-Saint-Anthony-Ab
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)

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

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

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.:
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.

The composition is known in three versions. One was in the Samuel H. Kress Foundation, and was given as a gift to the Lowe Art Museum at the University of Miami, Florida.1 Marginally smaller, and also on panel, the Kress painting is comparable to the present work down to the smallest details. The third version was formerly in the collection of Fritz von Harck (1855-1917), at Schloß Seußlitz, Dresden.2 The Harck painting differs from the other two in the construction of the right-hand side of the composition, where it depicts a small weir under the bridge before the Holy Family, and omits the posts delineating the edge of the path. The distance is also different, the Harck version shows a distant island, with a walled city at its shores, then another island in the middle distance upon which is another group of buildings, including a rotunda and a square tower, and a third spit of land with small figures and foliage only. The present picture, and the Kress version, depict a distant landscape sweeping from green fields, to coastal cities, to high rocky mountains and distant rolling hills. More

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

DUYTS, JAN DE 
Antwerp 1629 - 1676 
The Mystic Wedding of Saint Catherine
Oil on canvas
108 x 100cm
Signed lower right: J.v.d. Duyts f. 

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

Jan De Duyts was a Dutch visual artist who was born in 1629. The artist died in 1676.

CIARAMPONI, PASQUALE 
1734 Treia (Marche) - 1792 Treia (Marche) - attributed 
Erminia and Vafrin find the Wounded Tancredi. 
Oil on canvas
121 x 158cm

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

MARR, CARL VON, 1858 Milwaukee - 1936 Munich 
The Walk of Children to Bethlehem. 
Oil on cardboard
63 x 63cm
Signed lower right: Carl / Marr

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






Friday, January 22, 2016

48 Works, RELIGIOUS ART - Paintings from the Bible, Jean-Jacques Henner, with footnotes, 11

Jean-Jacques Henner (15 March 1829 – 23 July 1905) the sixth and last child of Alsatian peasants, Henner became an extremely successful portraitist and painter of female nudes in Second Empire and Third Republic Paris. He was noted for his use of sfumato and chiaroscuro in his paintings and portraits. 

Jean Jacques Henner
Rebecca at the Well
Oil On Canvas
39 1/2 x 26 5/8 (100.3 x 67.6 cm)

The story of Rebecca at the well comes from the Book of Genesis. The aged Abraham, wanting a wife for his son Isaac, sent his servant Eliezer to his homeland of Mesopotamia to find a suitable woman. Tired after his long journey, Eliezer stopped at a well and prayed for guidance. When Rebecca offered water to Eliezer and his camels, the old steward recognized her as the appointed bride and presented her with the betrothal jewels offered by the kneeling servant. More

He would typically sign his paintings "Henner," sometimes on the front, and sometimes on the back of his canvas. During frequent trips home, Henner would use his family and friends as his subjects, and had a particular attraction to painting women with red hair. Painting redheads and nudes with red hair would become his calling card, and gained him great notoriety in his time.

 - 21.7 ko
Jean-Jacques Henner (1829-1905)
Saint Sebastian, 1888
Oil on canvas - 150 x 125 cm
Paris, Musée Jean-Jacques Henner

Saint Sebastian (died c. 288) was an early Christian saint and martyr. According to Christian belief, he was killed during the Roman emperor Diocletian's persecution of Christians. He is commonly depicted in art and literature tied to a post or tree and shot with arrows. Despite this being the most common artistic depiction of Sebastian, he was, according to legend, rescued and healed by Irene of Rome. Shortly afterwards he went to Diocletian to warn him about his sins, and as a result was clubbed to death. He is venerated in the Catholic and Orthodox Churches. More

He was born at Bernwiller (Alsace); and began his studies in art as a pupil of Michel-Martin Drolling and François-Édouard Picot. In 1848, he entered the École des Beaux Arts in Paris.


Jean Jacques Henner,  (1829 – 1905)
Sketch for Adam and Eve Finding the Body of Abel
Oil on canvas

Henner's first known works are family portraits, which he continued to produce alongside the portrayals of notables commissioned later. Although he had won some medals in the early 1850s, Henner's failure to obtain the Prix de Rome in 1855 discouraged him and he returned home for two years. During this stay he visited Basel, where he saw Holbein's Dead Christ (1521, Öffentliche Kunstammlung, Basel), a continuing source of inspiration for Henner's religious pictures.

Jean Jacques Henner,  (1829 – 1905)
Oil sketch for Adam and Eve Finding the Body of Abel
Oil on canvas
Phoenix Art Museum

In Paris, Henner achieved the Prix de Rome in 1858 with Adam and Eve Finding the Body of Abel (École Nationale Supérieure des Beaux-Arts, Paris), which several critics considered one of the most original entries in the competition's history. During his subsequent five years in Italy, Henner was inspired by the landscapes of Rome and its environs, which he painted in a manner reminiscent of the early Corot. He also discovered the Italian masters such as Titian (active 1508-1576) and Giorgione (1477-1510). The most significant influences on Henner's popular female nudes, however, were the works of Correggio{P/} (ca. 1489/94-1534), and those by the French artist Prud'hon, whom he had admired earlier in Paris.

Adam et Eve trouvant le corps d'Abel. - Jean-Jacques HENNER
Jean-Jacques HENNER (1829-1905)
Adam et Eve trouvant le corps d'Abel.
Sketch for the contest Grand Prix 1858.
Hauteur 30 cm - Largeur 24.5 cm
Musée Jean-Jacques Henner (Paris)


Jean Jacques Henner,  (1829 – 1905)
Adam and Eve finding the Body of Abel, c.  1858
Oil on canvas
 Ecole nationale supérieure des beaux- arts, Paris 

In Rome, he was guided by Flandrin, and painted four pictures for the gallery at Colmar among other works.

Jean-Jacques Henner, 
d'après, after, le Corrège
La descente de croix, c. 1860

Henner painted a dead Christ lying at the foot of the cross and added to the background, members of his family (Mrs. Seraphin Henner Henner Eugenie wearing both the Alsatian veil of mourning and Jules Henner) in donor attitudes. It mixes here with no real hierarchy, the sacred sphere and the secular sphere. More

Déposition de croix par Le Corrége
 Antonio Allegri da Correggio
The Deposition, 1525

He first exhibited Bather Asleep at the Salon in 1863 and subsequently contributed Chaste Susanna (1865), now in the Musée d'Orsay. Other noted works include: Byblis turned into a Spring (1867); The Magdalene (1878); Portrait of M. Hayem (1878); Christ Entombed (1879); Saint Jerome (1881); Herodias (1887); A Study (1891); Christ in His Shroud (See Below)


Warburg - Banco Comparativo de Imagens: Obras:
Jean Jacques Henner,  (1829 – 1905)
Sketch, Lamentation over the Dead Christ
10 x 18 cm
Osenat | Fontainebleau - France


Jean Jacques Henner,  (1829 – 1905)
Lying figure - Reclining figure, c. 1860
Oil on canvas
66.5 x 130 cm
Musée des Beaux-Arts in Mulhouse - France

Jean Jacques Henner,  (1829 – 1905)
Jesus in the tomb, c. 1879
Oil on canvas
71 x 198 cm
Orsay Museum, Paris - France

Warburg - Banco Comparativo de Imagens: Obras:
Jean Jacques Henner,  (1829 – 1905)
Jesus in the tomb, c. 1896
Oil on canvas
136 x 176 cm
National Museum Jean-Jacques Henner, Paris,- France


Jean-Jacques Henner (1829 - 1905)
Pièta
Oil on wood
H. 12.5 ; L. 21

Musée national Jean-Jacques Henner, Paris


Henner Jean Jacques (1829-1905)
Le Christ au linceul, étude pour le tableau du salon de 1896
huile sur toile
Hauteur : 0.175 mLargeur : 0.3 m

and a Portrait of Carolus-Duran (1896); a Portrait of Mlle Fouquier (1897); and The Dream (1900).

Jean-Jacques Henner (1829 - 1905)
Tête de Christ au tombeau/ Head of Christ in the Tomb 1884
Oil on canvas H. 15.8 ; L. 20,2
Musée national Jean-Jacques Henner, Paris

The Levite of the Tribe of Ephraim (1898) (Below) was awarded a first-class medal. Among other professional distinctions, 


Jean-Jacques Henner, French, 1829–1905
The Levite of Ephraim and His Dead Wife, ca. 1898
Oil on canvas
60 x 92 cm (23 5/8 x 36 1/4 in.)
Princeton University Art Museum


Henner Jean Jacques (1829-1905)
Le Lévite d'Ephraïm et sa femme morte, c. 19e siècle
huile sur bois
0.15 mL x 0.2 mL

Paris, musée Jean-Jacques Henner


Henner Jean Jacques (1829-1905)
Le Lévite d’Éphraïm et sa femme morte
Hauteur : 0.109 mLargeur : 0.185 m
Paris, musée Jean-Jacques Henner


Henner Jean Jacques (1829-1905)
Le Lévite d’Éphraïm et sa femme morte
Hauteur : 0.136 mLargeur : 0.212 m
Paris, musée Jean-Jacques Henner

The Bible: The account of the Levite and his concubine begins in Judges 19. The Levite’s concubine had run away and been unfaithful to him. From the start, there is the problem of a Levite (from the priestly tribe) having a concubine, and then there is the problem of the woman being involved in a sexual relationship with someone else.

As he travelled to bring the woman back to his home, the Levite stopped for the night in Gibeah, a town of the Benjamites. An older man insisted they stay at his home instead of in the town square. As they were at the man’s home, verse 22 notes, “Some of the wicked men of the city surrounded the house. Pounding on the door, they shouted to the old man who owned the house, ‘Bring out the man who came to your house so we can have sex with him.’” The host tried to reason with them, but they would not listen. To spare himself, the Levite sent his own concubine outside. The mob abused her that night. When the man opened the door in the morning, the concubine’s dead body was there at the entrance (Judges 19:26–28).

The Levite placed her body on his donkey and traveled home. He then cut her body into 12 pieces—one for each tribe of Israel—and sent the pieces throughout the land. The striking response was, “Such a thing has never been seen or done, not since the day the Israelites came up out of Egypt. Just imagine! We must do something! So speak up!” (Judges 19:30).

The tribes of Israel (minus Benjamin) came together and decided to have the men who killed the concubine put to death. But when they confronted the people of Benjamin, the Benjamites refused to turn the guilty men over for their crimes (Judges 20:12–14). A civil war erupted, with the tribe of Benjamin eventually being defeated. All but 600 men of Benjamin were killed (Judges 12:47–48).

Judges 21 records the aftermath of this war. After a period of mourning, the nation’s leaders sought to find a way to keep the tribe of Benjamin alive. Their answer was to punish the city of Jabesh-gilead, who did not respond to the call to gather against the Benjamites. The punishment was that the 600 Benjamite men were allowed to steal young women from Jabesh-gilead to take as their wives. More

Henner also took a Grand Prix for painting at the Paris Exposition Universelle of 1900. He was made Chevalier of the Legion of Honour in 1873, Officer in 1878, and Commander in 1889. In 1889, he succeeded Cabanel in the Institut de France.

Henner died at age 76 in Paris.

Other works:


Jean-Jacques Henner (1829–1905)
Salome
Oil on canvas
72-1/4 x 36-1/4 inches (183.5 x 92.1 cm)
Signed lower right

Jean Jacques Henner, 1829 - 1905
Salome, c. 1887
Oil on canvas
72-1/4 x 36-1/4 inches (183.5 x 92.1 cm)
Signed lower right

See: 42 Paintings, RELIGIOUS ART - The Story of John The Baptist as shown by the Old Masters, with footnotes, 13

This version of Herodias is a study for a painting that was presented at the 1887 Salon and whose current whereabouts are unknown. Henner often prepared for his paintings by doing large studies on brown paper which allowed him to establish the essential features of his composition. They are characterised by a force and expressiveness that are toned down in the final work.


Herodias is seen holding a platter in which lies the severed head of John the Baptist that her daughter, Salome, obtained by pleasing Herod with her dancing. Henner painted several female characters from the Bible in similar poses: Herodias (in 1887, of which there are several versions), Judith (around 1886-1887) (See Bellow) and Rebecca (around 1903-1905). More

Jean-Jacques Henner (1829–1905)
The Chaste Susannah, circa 1865
Oil on canvas
185 x 130 cm
Current location
Musée d'Orsay

A fair Hebrew wife named Susanna was falsely accused by lecherous voyeurs. As she bathes in her garden, having sent her attendants away, two lustful elders secretly observe the lovely Susanna. When she makes her way back to her house, they accost her, threatening to claim that she was meeting a young man in the garden unless she agrees to have sex with them. She refuses to be blackmailed and is arrested and about to be put to death for promiscuity when a young man named Daniel interrupts the proceedings, shouting that the elders should be questioned to prevent the death of an innocent. After being separated, the two men are questioned about details (cross-examination) of what they saw but disagree about the tree under which Susanna supposedly met her lover. In the Greek text, the names of the trees cited by the elders form puns with the sentence given by Daniel. The first says they were under a mastic (ὑπο σχίνον, hupo schinon), and Daniel says that an angel stands ready to cut (σχίσει, schisei) him in two. The second says they were under an evergreen oak tree (ὑπο πρίνον, hupo prinon), and Daniel says that an angel stands ready to saw (πρίσαι, prisai) him in two. The great difference in size between a mastic and an oak makes the elders' lie plain to all the observers. The false accusers are put to death, and virtue triumphs. More

Jean-Jacques Henner (1829 - 1905)
Saint Jérôme 1881
Oil on canvas H. 140.4, l. 200

Musée des beaux-arts, Valenciennes

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 the son of Eusebius, born ina village, in northeastern Italy. He is best known for his translation of most of the Bible into Latin (the translation that became known as the Vulgate), 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. More


Jean-Jacques Henner (1829 - 1905)
Sainte Madeleine en prière 1889
Oil on canvas H. 35.2 ; L. 10,8

Musée national Jean-Jacques Henner, Paris

Jean-Jacques Henner (1829–1905)
Pleureuse, Weeping Magdalene 
oil on canvas 
15 x 21¾ in. (38 x 55.3 cm.) 

Jean-Jacques Henner, Pleureuse, Weeping Magdalene
After Jean-Jacques Henner
PLEUREUSE, WEEPING MAGDALENE
15 X 21.5 in (38.1 X 54.61 cm)
Oil on canvas
Signed

Jean-Jacques Henner
A Reclining Nude
15 X 21.5 in (38.1 X 54.61 cm)
oil on canvas


Jean-Jacques Henner
PLEUREUSE, WEEPING MAGDALENE
15 X 21.5 in (38.1 X 54.61 cm)
Oil on canvas
Signed


Jean-Jacques Henner
Madeleine repentante 

Jean-Jacques Henner (1829–1905)
Pleureuse (kneeling Magdalene)

Jean-Jacques Henner (1829–1905)
Pleureuse (kneeling Magdalene)


Jean-Jacques Henner (1829-1905)
All penitent Magdalene, c. Paris 1885

National Museum Jean-Jacques Henner

Mary Magdalene is a figure in Christianity. Mary Magdalene travelled with Jesus as one of his followers. She is said to have witnessed Jesus' crucifixion and resurrection. Within the four Gospels she is named at least 12 times, more than most of the apostles. During the Middle Ages she developed a reputation in Western Christianity as being a repentant prostitute or loose woman. This is not supported by the canonical gospels.

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

Mary Magdalene was present from the "beginning of a movement that was going to transform the West". She was the "Apostle to the Apostles", an honorific that the 3rd century theologian Hippolytus of Rome gave her in his commentary on the Song of Songs. 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. Some have considered her as fulfilling a role similar to that of Simon Peter among the male disciples. More

All penitent Magdalene has lost her face and contours. Henner avoids included a look or a face. If Madeleine is a in moment of the spirit which expresses itself, it must be the least individualized possible. True to the spiritualist motto, Henner think that individuals are only "temporary illusions." So it begs in his paintings any singularity. Henner is not in a moment in the life of a subject, he illustrates a moment in the life of a body.

Séailles Henner said he began to work on Nature in the evening when the lights are attenuated, when early natural unit shines in the darkness. Séailles continues: "The table does not divide [...] it is a single image, it appears first as a whole." More

Jean-Jacques Henner Berviller, 1829 - Paris, 1905 
Study for the 'Magdalene' 
Charcoal drawings in a single installation 
Carry the artist's stamp bottom left
50 x 13 cm; 10, 50 x 13, 50; 9 x 14 cm

Jean-Jacques Henner (1829–1905)
Penitent Madeleine (1878) 
Mulhouse, Musee des Beaux Arts 

Jean-Jacques Henner
MARY MAGDALENE
48.5 X 36.75 in (123.19 X 93.34 cm)
Oil on canvas
Signed


After Jean-Jacques Henner
PENITENT MAGDALENE
36 X 27 in (91.44 X 68.58 cm)
Oil on canvas
Signed

Jean-Jacques Henner, LA MAGDELEINE
Jean-Jacques Henner
LA MAGDELEINE, c. 1880
48.23 X 37.2 in (122.5 X 94.5 cm)
Medium: oil on canvas
Signed

Jean Jacques Henner, 1829 - 1905
LA MAGDELEINE
signed and dated J.J. HENNER  1880, lower left
Oil on canvas
56 1/2 × 47 in, 143.5 × 119.4 cm

Jean Jacques Henner 1829 - 1905 FRENCH LA MAGDELEINE signed and dated J.J. HENNER 1880 lower left oil on canvas 122.5 by 94.5cm., 48¼ by 37¼in:
Jean Jacques Henner, 1829 - 1905
LA MAGDELEINE, 1880
signed and dated J.J. HENNER  1880, lower left
Oil on canvas
122.5 by 94.5cm., 48¼ by 37¼in

Jean-Jacques Henner (1829–1905)
La Madeleine (1881)
Madeleine Series 

If Henner is known at all, it is only to a few students of nineteenth century art, and more for his symbolist works of women with long red hair than for any other subject. Even though he is of interest to some historians and curators of the nineteenth century, his prolific output remains largely unknown to the general public, and to most outside of France.

Jean-Jacques Henner
Madeleine dans le désert
42.5 X 56 in (107.95 X 142.24 cm)
Oil on canvas
Signed

Those few who do know his work are often confronted with the issue of an overabundance of images, the lack of a consistent aesthetic quality, and the lingering suspicion that Henner's paintings were copied in the nineteenth century in order to capitalize on his reputation and fame. Adding to the difficulty of mounting an exhibition of Henner's oeuvre is that his images often look similar, and his paintings are exceedingly dark in tone, which complicates their accessibility to a modern audience.

Even though Henner painted during the Impressionist era, his dark canvases suggest that they might look best under candlelight rather than under the brilliant illumination needed to study the best Impressionist canvases.

Jean-Jacques Henner, CHRIST EN CROIX [ JEAN-JACQUES HENNER, CHRIST ON THE CROSS, OIL ON PANEL. ]
Jean-Jacques Henner
CHRIST EN CROIX, CHRIST ON THE CROSS, c. 1829 et 1905
huile sur toile
H. 2.07 ; L. 1.42

musée des Beaux-Arts, Strasbourg, France

Jean Jacques Henner, 1829 - 1905
Saint Sebastian Attended by Saint Irene, c.1889
Oil on canvas
H. 150,5 cm x W. 118,6 cm

Saint Sebastian (died c. 288) was an early Christian saint and martyr. According to Christian belief, he was killed during the Roman emperor Diocletian's persecution of Christians. He is commonly depicted in art and literature tied to a post or tree and shot with arrows. Despite this being the most common artistic depiction of Sebastian, he was, according to legend, rescued and healed by Irene of Rome. Shortly afterwards he went to Diocletian to warn him about his sins, and as a result was clubbed to death. More

Tablet from the same.

The treatment of light and shade, clearly the influence of Pierre-Paul Prud’hon, is also unusual in the way that the painter uses them to make one of the arms disappear into the shadows. The moonlight and the contrast between the saint’s pale body and the women’s black veils are typical of Henner’s style. More

L'Enfant Prodigue, vers 1882  Jean-Jacques Henner (1829-1905),   Paris, musée national Jean-Jacques Henner:
Jean-Jacques Henner (1829-1905)
The Prodigal Son, circa 1882
Oil on canvas
Paris, National Museum Jean-Jacques Henner

The Parable of the Prodigal Son is one of the parables of Jesus. It appears in only one of the Canonical gospels of the New Testament, the Gospel of Luke (Luke 15:11-32). Jesus shares it with his disciples, the Pharisees and others. According to the story, a father has two sons. The younger son asks for his inheritance before the father dies, and the father agrees. The younger son, after wasting his fortune (the word "prodigal" means "wastefully extravagant"), goes hungry during a famine, and becomes so destitute he longs to eat the same food given to hogs, unclean animals in Jewish culture. He then returns home with the intention of repenting and begging his father to be one of his hired servants, expecting his relationship with his father is likely severed. Regardless, the father finds him on the road and immediately welcomes him back as his son and holds a feast to celebrate his return, which includes killing a fattened calf usually reserved for special occasions. The older son refuses to participate, stating that in all the time he has worked for the father, he never disobeyed him; yet, he did not even receive a goat to celebrate with his friends. The father reminds the older son that the son has always been with him and everything the father has is the older son's (his inheritance). But, they should still celebrate the return of the younger son because he was lost and is now found. More

Judith, étude - 1880
Jean-Jacques Henner
Judith, etude," c.1880
Musée National Jean-Jacques Henner, Paris, France


Jean-Jacques Henner,
Judith, etude," c.1880,
Musée National Jean-Jacques Henner, Paris, France


Jean-Jacques Henner (1829-1905)
Portrait de femme en robe rouge (Judith)
Toile
signée en haut à gauche
Haut. 110 - Larg. 63 cm


Jean Jacques Henner has been called the Titian of modern art, and in the sense of a grand devotion to color and a wonderful power in the painting of the nude figure he has a certain sympathy with the Italian master. But he is also a portrait painter and a painter of religious subjects of supreme force. More




Acknowledgement: WikipediaCONSENTIDO PROPIO, ArtMagickGabriel P. Weisberg