Thursday, May 26, 2016

22 Paintings, RELIGIOUS ART - Paintings from the Bible by the Masters, Franz von Stuck, with footnotes, 21



Franz von Stuck, (1863-1928)
Inferno, c. 1908
128.5 x 209 cm
Oil on canvas

"His painting Inferno rendered an extraordinary panaroma of the damned writhing in eternal torment. A syphilitic whore with a death’s head stands stiffly on the left while a demon readies to suckle at her withered teat. Two muscled figures sit doubled up in agony at the scene’s center. On the right, a venomous serpent coils itself around two damned souls. Stuck used ophidian imagery repeatedly in his paintings and this particular Hydra wildly sibilates as it crushes its victims. Backlit with fiery igneous rock, Stuck focused light on each damned soul so as to detail every facet of their agony. Inferno successfully depicts an arresting scene of chthonian grotesques for its viewers." More

Franz Stuck (February 23, 1863 – August 30, 1928), ennobled as Franz von Stuck in 1906, was a German painter, sculptor, engraver, and architect. Born at Tettenweis near Passau, Stuck displayed an affinity for drawing and caricature from an early age. To begin his artistic education he relocated in 1878 to Munich, where he would settle for life. From 1881 to 1885 Stuck attended the Munich Academy.

File:Samson Franz von Stuck.jpg
Franz von Stuck (1863–1928)
Samson, c. 1890
Oil on canvas
37 cm (14.57 in.), Width: 56.5 cm (22.24 in.)
 Museum Villa Stuck, Munich

Franz von Stuck's early painting, which titled "Samson" (1890), and which was considered lost since it's last mention in 1924 by Stuck's biographer, the poet OJ Bierbaum; who commented that the image: "One is more inclined to think of one of the labors of Hercules, as to the fact of the Old Testament ." More 

He first became well known by cartoons for Fliegende Blätter, and vignette designs for programmes and book decoration. In 1889 he exhibited his first paintings at the Munich Glass Palace, winning a gold medal for The Guardian of Paradise.

Franz Von Stuck 1863 -1928 |  German Symbolist / Expressionist painter and sculptor
Franz von Stuck
Crucifixion, 1913
Tempera on canvas
190 cm (74.8 in.), Width: 165 cm (64.96 in.) 
Museum der Bildenden Künste - Leipzig

In 1892 Stuck co-founded the Munich Secession, and also executed his first sculpture, Athlete. The next year he won further acclaim with the critical and public success of what is now his most famous work, the painting The Sin. Also during 1893, Stuck was awarded a gold medal for painting at the World's Columbian Exposition in Chicago, and was appointed to a royal professorship. In 1895 he began teaching painting at the Munich Academy.

Franz von Stuck (1863 - 1928)
Crucifixion Christi, c. (1913)
165 x 190 cm (64,8 x 74,7 inches)

Leipzig, Museum

Stuck chose to portray the most dramatic moment of Christ's death, when the sun went dark and the heavens cracked. The scene concentrates entirely on the deathly pale Christ, who is lit in a bright heavenly glow against the dark setting. Apart from Christ and the two murderers, of whom one is lost in the darkness and the other seen from the back and almost invisible, the only others present are John and Mary. More

Franz von Stuck (1863–1928)
Golgotha, c. 1917 
Oil on canvas
Brooklyn Museum - New York, NY (United States)

Stuck devoted several canvases to this subject late in his career, during the difficult years of World War I. Calling on new scholarly theories regarding the Gospel accounts, Stuck departs from tradition and places Christ at eye level with the witnesses to his sufferings. The artist cleverly structures his composition, placing the viewer immediately to the left of the crucified thief in the foreground and to the right of the haloed Virgin Mary, thereby closing a solemn yet intimate circle. Stuck also chooses to show Christ with his feet side by side rather than overlapping—again, referencing nineteenth-century debates about the historical details of this method of execution. More

In 1897 Stuck married an American widow, Mary Lindpainter, and began work designing his own residence and studio, the Villa Stuck. His designs for the villa included everything from layout to interior decorations; for his furniture Stuck received another gold medal at the 1900 Paris World Exposition.

Franz von Stuck (1863–1928)
Pietà, c. 1891
Oil on canvas
Height: 95 cm (37.4 in.), Width: 178.5 cm (70.28 in.)
Städel Museum - Frankfurt (Germany)

Stuck’s big idea is humanity itself, in all its complexity and contradiction, all its passion and pain. In paintings such as Pieta, we bear witness to the Virgin Mary’s grief as we, too, look upon the dead body of Christ, to whom von Stuck often gave his own features in the paintings, thus placing himself in that most passionate and pathetic of roles. More

Having attained much fame by this time, Stuck was ennobled on December 9, 1905 and would receive further public honours from around Europe during the remainder of his life. He continued to be well respected among young artists as professor at the Munich Academy, even after his artistic styles became unfashionable. Notable students of his over the years include Paul Klee, Hans Purrmann, Wassily Kandinsky, Alf Bayrle and Josef Albers.

Franz von Stuck
Lucifer, c. 1891
oil on canvas
National Gallery for Foreign Art (Sofia, Bulgaria)

Stuck’s Lucifer (1890; detail shown above) strikes the viewer not just as an embodiment of evil, but an embodiment of the human element in evil. An early critic wrote of “appalling Lucifer, sitting alone in the nether gloom with incandescent greenish eyes.” Prince Ferdinand of Bulgaria, once owner of Lucifer, told von Stuck that the painter “terrified” his ministers, who made the sign of the cross upon first sight of the fallen archangel—a story von Stuck retold with glee, one presumes.  What makes Lucifer stick in your mind isn’t some reproduction of the glamour of evil, but rather the poignant sense of loss in those glowing green eyes, the envy of the heaven he fell from fueling the fires of the hell he must now fashion. von Stuck could paint both convincing Christs and Satans because he always held onto the common thread of the humanity at the core of such figures. More

Stuck’s masterwork, “Lucifer.” As with many of his portraits, the subject gazes out toward the viewer—but off center and with pale, enraged eyes, the fallen angel is looking through the audience, not at them. Plotting his revenge and cupping his broken wings, this greatest symbol of inversion—once divine, now demonic, once the favorite, now the enemy—sees through the material aspects to the very essence of humanity and how it can be exploited to subvert divine order. Unlike Stuck’s other composite beasts whose hooves are planted firmly on earth, Lucifer has wings that for flight and ascendance, but now form only a dark shell, a reminder of his fall, crumpled by a thin crescent of light descending from above. More

'Temptation', Oil by Franz Von Stuck (1863-1928, Germany):
Franz von Stuck
Die Versuchung (The Temptation)

In the middle of the picture, between Adam and Eve, Stuck positioned the Tree of Knowledge around which a giant snake has curled itself. Eve, who has already been seduced by the snake and sampled the forbidden fruit, is shown timidly offering it to Adam. Torn between accepting or refusing the apple, Adam's leg is simultaneously being enveloped by the devil’s tail. Stuck clearly used the forbidden fruit as a metaphor of the seductive and erotic power of woman. This is reflected not only in the painting’s title but also in Eve’s gesture: while offering him the apple in one hand, she clasps her breast in the other. More

File:Franz-Von-Stuck-adam-and-Eve.jpg:
Franz von Stuck, (1863-1928)
Adam and Eve, ca. 1920-28
98.0 x 93.5 cm
Oil on wood

Here Stuck altered the iconography. The tree is left out entirely. Instead, the devil uses the woman herself as the temptress of man. Rather than the apple, Eve extends the snake’s head, in which the apple is clearly visible between the fangs of its gaping mouth. Both snake and woman conjoin in their attempt to seduce man, just as they do in Stuck’s famous later paintings of Die Sünde (The Sin).

Franz von Stuck, (1863-1928)
Temptation - Adam and Eve
Oil on wood
Mid Rhineland Museum

Franz von Stuck (1863 - 1928)
ADAM UND EVA, 1893
73 x 68,5 x 3,5 cm
Bronze

Franz von Stuck (1863 - 1928)
ADAM UND EVA (ADAM AND EVE)
Plaster
70 by 74.5cm., 27½ by 29¼in.


An interesting aspect of this relief, and the bronx above, is the opposing representations of the two nudes. While Adam resembles antique statues from the 5th century BC, Eve is emphatically modern, sensitively modelled from nature and stylized in a way that is typical of von Stuck.

Franz von Stuck died on August 30, 1928 in Munich; his funeral address memorialized him as "the last prince of art of Munich's great days". He is buried in the Munich Waldfriedhof next to his wife Mary.

Franz von Stuck (1863–1928)
The Guardian of Paradise, c. 1889
Oil on canvas
250 cm (98.43 in.), Width: 167 cm (65.75 in.) 
Brooklyn Museum - New York, NY (United States)

In 1889 Stuck exhibited his first paintings at the Munich Glass Palace, winning a gold medal for The Guardian of Paradise.

The lost Paradise, 1897 by Franz Stuck. Symbolism. religious painting:
Franz von Stuck (1863–1928)
The lost Paradise, c. 1897
Oil on canvas
200 x 290 cm
Galerie Neue Meister in Dresden, Germany

 “After he drove the man out, he placed on the east side of the Garden of Eden cherubim and a flaming sword.” (Genesis 3:24)

Franz von Stuck (1863–1928)
The Explusion from Paradise, c. 1890
Oil on canvas
Musée d'Orsay - Paris (France)


In the present painting, the angel is turned into profile, and Adam and Eve are added at the right. The angel’s bent wings are firmly planted on the ground, balancing the slight curve of the two bodies on the right. A vanishing demarcation line indicates the border of Paradise in the center of the painting, reinforcing its symmetrical composition. The dark and light bodies of Adam and Eve repeat the rhythm of the angel’s dark wings and light body. The most innovative element is the scintillating light which creates an unreal magic space. More

Image: Franz von Stuck - Judith
Franz von Stuck, (1863-1928)
Judith, (1924)
83 x 157 cm
Oil on canvas
Schwerin State Museum

Franz von Stuck, (1863-1928)
Judith (1926)
83 x 157 cm
Oil on canvas
Schwerin State Museum

Franz von Stuck, (1863-1928)
Judith and Holofernes, c. 1927
82 × 74 cm
Oil on canvas
Collection Otto Heilmann, Munich, Germany

Modern paintings of this scene often cast Judith nude, as was signalled already by Klimt. Franz Stuck's 1928 Judith has "the deliverer of her people" standing naked and holding a sword besides the couch on which Holofernes, half-covered by blue sheets—where the text portrays her as god-fearing and chaste, "Franz von Stuck's Judith becomes, in dazzling nudity, the epitome of depraved seduction"

The account of the beheading of Holofernes by Judith is given in the Book of Judith, and is the subject of many paintings and sculptures from the Renaissance and Baroque periods. In the story, Judith, a beautiful widow, is able to enter the tent of Holofernes because of his desire for her. Holofernes was an Assyrian general who was about to destroy Judith's home, the city of Bethulia. Overcome with drink, he passes out and is decapitated by Judith; his head is taken away in a basket (often depicted as carried by an elderly female servant). More

Franz Von Stuck (1863-1928) - Salome
Franz von Stuck, (1863-1928)
Salome, c. 1906
45.7 × 24.7 cm
Oil on canvas

Franz von Stuck, (1863-1928)
Salome, 1920
90.2 x 66 cm (35 1/2 x 26 in.)
Oil on canvas

Salome, stepdaughter of Herod II, is depicted in the Bible as a femme fataleâ. Her dance before the King so pleases him that he ultimately agrees to the beheading of John the Baptist. Von Stuck highlights Salome`s seductive and rather sinister”qualities; the tilt of her head and positioning of her body emphasize her long, lean figure as well as the wide expanses of naked skin. Her smile similarly reveals her delight at entertaining her audience, the viewer. This representation is related to a variation of the same subject produced by von Stuck in 1906 (see above). Salome is shown the same pose, but accompanied by a black woman carrying the head of John the Baptist. More

Franz von Stuck - Batsheba, 1912.jpg
Franz von Stuck (1863–1928)
Batsheba, c. 1912
Oil on canvas
95 × 91 cm (37.4 × 35.8 in)
National Museum of Fine Arts in Buenos Aires

According to the Hebrew Bible, "Bat Sheva," , "daughter of the oath"; was the wife of Uriah the Hittite and later of David, king of the United Kingdom of Israel and Judah. She is most known for the Bible story in which she was summoned by King David who had seen her bathing and lusted after her.

Bathsheba was from David's own tribe and the granddaughter of one of David's closest advisors. She was the mother of Solomon, who succeeded David as king, making her the Queen Mother. More

Franz von Stuck (1863–1928)
Susanna and the Elders

Franz von Stuck (1863–1928)
Susanna and the Elders, c. 1904
Oil on canvas

Franz von Stuck (1863–1928)
Susanna and the Elders, c. 1913
Oil on canvas
25 x 63 cm

Susanna-and-the-elders-1904
Franz von Stuck (1863–1928)
Susanna And The Elders, c. 1904
Oil, canvas
98 x 134.5 cm

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 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, and Daniel says that an angel stands ready to cuthim in two. The second says they were under an evergreen oak tree, and Daniel says that an angel stands ready to saw 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

stuck, franz von the dragon slayer | figures | sotheby's l15101lot7y6mden:
Franz von Stuck, 1863 - 1928
THE DRAGON SLAYER
Oil on panel
135 by 126cm., 53¼ by 49½in.

The Dragon Slayer is a particularly charged rendition of an age-old theme. Although most of Stuck's paintings depict scenes from the Antique or the Bible, neither the title The Dragon Slayer nor the iconography reveal the exact story behind the present work. Stuck's fascination with Greek legends suggests the subject to be Perseus and Andromeda, although Medusa's head and Perseus's winged shoes are missing. As early as 1900 Stuck’s contemporary, Lovis Corinth (lots 3, 4 & 5), had painted the hero as a medieval knight rather than a Greek half-god, and his Perseus and Andromeda may have been a possible source of inspiration for the present work. Another obvious influence would have been the biblical story of St. George, who kills the dragon to save a virgin. More

Franz von Stuck, 1863 - 1928
Versuchung (Temptation), c. 1918
Mixed media on canvas
37 3/8 x 42 1/2 in
Museum Villa Stuck

Franz von Stuck, 1863 - 1928
Temptation Of St. Anthony
Oil on board

13.00 in. (33.02 cm.) (height) by 15.00 in. (38.10 cm.) (width)

Saint Anthony or Antony (c. 251–356) was a Christian monk from Egypt, revered since his death as a saint. He is 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 helped to spread the concept of Christian monasticism, particularly in Western Europe via its Latin translations. He is often erroneously considered the first Christian monk. Anthony was, however, the first to go 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


Images are copyright of their respective owners, assignees or others
Acknowledgement: Wikipedia 

Monday, May 23, 2016

24 Paintings and Prints portraying The Satyr and the Traveller (or Peasant), one of Aesop's Fables

The Satyr and the Traveller (or Peasant) is one of Aesop's Fables and is numbered 35 in the Perry Index. The popular idiom 'to blow hot and cold' is associated with it.

Ioannis Patousas
Collection of Aesop's Fables in Greek, Venice
The Satyr and the Peasant, c. 1644

There are Greek versions and a late Latin version of the fable by Avianus. In its usual form, a satyr or faun comes across a traveller wandering in the forest in deep winter. Taking pity on him, the satyr invites him home. When the man blows on his fingers, the satyr asks him what he is doing and is impressed when told that he can warm them that way. But when the man blows on his soup and tells the satyr that this is to cool it, the honest woodland creature is appalled at such double dealing and drives the traveller from his cave. There is an alternative version in which a friendship between the two is ended by this behaviour.

File:Satyr&peasant.jpg
Walter Crane
The Satyr and the Peasant, c. 1887

Walter Crane (15 August 1845 – 14 March 1915) was an English artist and book illustrator. He is considered to be the most influential, and among the most prolific, children’s book creator of his generation and, along with Randolph Caldecott and Kate Greenaway, one of the strongest contributors to the child's nursery motif that the genre of English children's illustrated literature would exhibit in its developmental stages in the latter 19th century.


Crane's work featured some of the more colourful and detailed beginnings of the child-in-the-garden motifs that would characterize many nursery rhymes and children's stories for decades to come. He was part of the Arts and Crafts movement and produced an array of paintings, illustrations, children's books, ceramic tiles and other decorative arts. Crane is also remembered for his creation of a number of iconic images associated with the international Socialist movement. More

CRE NEEFS, Jacques; ( Flemish; 1610-1660)
The Satyr Visiting The Peasant Family
Engraving, printed in black ink
38.9 x 40

CRE NEEFS, Jacques; ( Flemish; 1610-1660) AFTER JORDAENS, Jacob; (Flemish; 1593-1678)

The idiom 'to blow hot and cold (with the same breath)', was defined by the emblem books of the Renaissance, particularly those that focused on fables as providing lessons for moral conduct. While Hieronymus Osius tells the tale of the traveller and draws the moral that one should avoid those who are inconstant, Gabriele Faerno puts it in the context of friendship and counsels that this should be avoided with the 'double-tongued' (bilingues). In this he is followed by Giovanni Maria Verdizotti, Marcus Gheeraerts the Elder and Geoffrey Whitney. However, in Francis Barlow's edition of the fables (1687), the Latin text warns against those whose heart and tongue do not accord

File:Jan van der Venne - Satyr and Peasant in a Tavern.jpg
Jan van der Venne (fl. 1616–1651)
De satyr bij de boer, first half of 17th century
Oil on panel
38 × 54 cm (15 × 21.3 in)
Brukenthal National Museum, Romania

Jan van de Venne (active by 1616 – died before 1651), was a Flemish painter of genre, religious scenes, and cabinets who was court painter to the governors of the Southern Netherlands. Many of his works depict "low-life" genre scenes of tooth-pullers, card-players and hurdy-gurdy players, tronies and expressive religious scenes. More

The fable was included as Le satyre et le passant among the fables of Jean de la Fontaine (V.7) but with no alteration of moral. However, this version too was to be reinterpreted in a political sense in the 19th century. In the course of his very free version, John Matthews expanded the text to comment on the 1819 election in Westminster and advise the voters to adopt the satyr's view of blowing hot and cold. In France the satirical cartoonist J.J. Grandville also updated the meaning by showing a group of loungers reading and commenting on the newspapers in a public park next to a statue illustrating the fable.

File:Ricci satyr.jpg
Sebastiano Ricci
The Satyr and the Traveller, Early 18th century
The Louvre

Sebastiano Ricci (1 August 1659 – 15 May 1734) was an Italian painter of the late Baroque school of Venice. About the same age as Piazzetta, and an elder contemporary of Tiepolo, he represents a late version of the vigorous and luminous Cortonesque style of grand manner fresco painting. More

The Age of Enlightenment had intervened and prominent thinkers had then attacked the logic of this fable in particular. In the article on "Fable" in his Dictionnaire Philosophique (1764), Voltaire remarked that the man was quite right in his method of warming his fingers and cooling his soup, and the satyr was a fool to take exception.[ The German philosopher Gotthold Ephraim Lessing asserts in one of his essays on fables that its fault 'lies not in the inaccuracy of the allegory, but that it is an allegory only', perhaps reaching towards the conclusion that the fable had been badly framed around an already existing proverb. 'The man ought really to have acted contradictorily; but in this fable he is only supposed to have done so.' By using the fable to focus on political behaviour, therefore, the writers and artists give it a justification not inherent within its narrative.

File:Renesse Satyr at the peasant's house.jpg
Constantijn à Renesse (1626 – 1680)
Satyr at the peasant's house, c. 1653
Oil on canvas
168 × 203 cm (66.1 × 79.9 in)
National Museum in Warsaw, Poland

Constantijn à Renesse (1626 – 1680), was a Dutch Golden Age painter and pupil of Rembrandt. He was born in Maarssen to the son of Frederick Henry, Prince of Orange's military chaplain. He moved with his family to Breda and was sent to Leiden to the University, where besides literature studies he also took drawing lessons from Rembrandt in 1649. He moved to Eindhoven in 1653 where he later died. He is known for religious prints and drawings and is documented working with Rembrandt on paintings of religious subjects. More

File:Lecompte satyre.jpg
Hippolyte Lecomte
Le satyre et le passant
1818 edition of La Fontaine's Fables

Hippolyte Lecomte (28 December 1781, Puiseaux – 25 July 1857, Paris) was a French painter best known for large scale historical paintings and ballet designs. His wife, born Camille Vernet, was the sister of the painter Émile Jean-Horace Vernet; the caricaturist Jean Ignace Isidore Gérard, better known as "J.J. Grandville", worked in Lecomte's studio (See Below). His son, Charles Emile Hippolyte Lecomte-Vernet, was also a noted painter. More

File:Le-satyre-et-le-passant Grandville.jpg
Jean Ignace Isidore Gérard (1803–1847)
J.J. Grandville's reinterpretation of La Fontaine's Fable of "Le Satyr et le Passant", c. 1838

Jean Ignace Isidore Gérard (13 September 1803, Nancy, Meurthe-et-Moselle – 17 March 1847, Vanves), generally known by the pseudonym of Jean-Jacques or J. J. Grandville, was a French caricaturist. He was born at Nancy, in northeastern France, to an artistic and theatrical family. The name "Grandville" was his grandparents' professional stage name. Grandville received his first instruction in drawing from his father, a painter of miniatures. At the age of twenty-one he moved to Paris, and soon afterwards published a collection of lithographs entitled Les Tribulations de la petite proprieté. He followed this with Les Plaisirs de tout âge and La Sibylle des salons (1827); but the work which first established his fame was Les Métamorphoses du jour (1828–29), a series of seventy scenes in which individuals with the bodies of men and faces of animals are made to play a human comedy. These drawings are remarkable for the extraordinary skill with which human characteristics are represented in animal facial features.

The success of this work led to his being engaged as artistic contributor to various periodicals, such as La Silhouette, L'Artiste, La Caricature, Le Charivari; and his political caricatures which were characterized by marvelous fertility of satirical humour, soon came to enjoy a general popularity.

After the reinstitution of prior censorship of caricature in 1835, Grandville turned almost exclusively to book illustration, supplying illustrations for various standard works, such as the songs of Béranger, the fables of La Fontaine, Don Quixote, Gulliver's Travels, Robinson Crusoe. He also continued to issue various lithographic collections, among which may be mentioned La Vie privée et publique des animaux, Les Cent Proverbes, Un Autre Monde and Les Fleurs animées.


Though the designs of Grandville are occasionally unnatural and absurd, they usually display keen analysis of character and marvellous inventive ingenuity, and his humour is always tempered and refined by delicacy of sentiment and a vein of sober thoughtfulness. He died on 17 March 1847 and is buried in the Cimetière Nord of Saint-Mandé just outside Paris. More

ricci, sebastiano a scene from aeso | allegory | sotheby's n09515lot7y564en:
Attributed to Sebastiano Ricci, BELLUNO 1659 - 1734 VENICE
A SCENE FROM AESOP'S FABLE: THE SATYR AND THE PEASANT
oil on canvas
24 1/8  by 27 7/8  in.; 61.2 by 71 cm

Sebastiano Ricci, see above

For a variety of reasons the fable of "The Satyr and the Peasant" in particular became one of the most popular genre subjects in Europe and by some artists was painted in many versions. It was particularly popular in the Netherlands, where it brought together the contemporary taste for Classical mythology and a local liking for peasant subjects. At the start of the 17th century the poet Joost van den Vondel published his popular collection based on Marcus Gheeraerts' prints, Vorstelijke Warande der Dieren (Princely pleasure-ground of beasts, 1617), in which the poem Satyr en Boer appears.[12] This seems to have appealed to the imagination of the young Jacob Jordaens, who went on to produce some dozen versions of the subject and did more than any other painter to popularise it.[13] He was followed in his native Antwerp by others such as Willem van Herp and Jan Cossiers, while in the Northern Netherlands it was taken up by the group of Rembrandt's pupils and followers, Gerbrand van den Eeckhout, Barent Fabritius and Claes Corneliszoon Moeyaert, as well as by genre painters like Benjamin Gerritsz Cuyp, Jan Steen and David Ryckaert the younger.


Gerbrand van den Eeckhout (1621–1674)
The Satyr and the Peasant, c. mid 17th century

Gerbrand van den Eeckhout (19 August 1621 – 29 September  1674), was a Dutch Golden Age painter and a favourite student of Rembrandt. He was also an etcher, an amateur poet, a collector and an adviser on art. More

A peasant family sits around a wooden table in a Dutch kitchen. The room's exposed rafters, assorted domestic objects on shelves, and cobbled floor are all rendered in careful detail. A woman serves a man who blows on his soup to cool it. A young child faces her, holding a spoon in his upraised hand and begging for food. A lively young woman wearing a large straw hat and an old woman fill the space between the eating man and the standing woman. A crude fellow in the background spoons soup in...:
Jan Steen
Satyr and the Peasant Family, c.1660-62

Jan Havickszoon Steen (c. 1626 – buried 3 February 1679) was a Dutch genre painter of the 17th century (also known as the Dutch Golden Age). His works are known for their psychological insight, sense of humour and abundance of colour. Steen was born in Leiden, where his well-to-do, Catholic family. He was the eldest of eight or more children. Like his even more famous contemporary Rembrandt van Rijn, Jan Steen attended the Latin school and became a student in Leiden. He received his painterly education from Nicolaes Knupfer (1603–1660), a German painter of historical and figurative scenes in Utrecht. Influences of Knupfer can be found in Steen's use of composition and colour. Other sources of inspiration were Adriaen van Ostade and Isaac van Ostade, painters of rural scenes, who lived in Haarlem. Whether Steen actually studied with Ostade is not known.

In 1648 Jan Steen and Gabriël Metsu founded the painters' Guild of Saint Luke at Leiden. Soon after he became an assistant to the renowned landscape painter Jan van Goyen and moved into his house on the Bierkade in The Hague. On Oct 3, 1649 he married van Goyen's daughter Margriet, with whom he would have eight children. Steen worked with his father-in-law until 1654, when he moved to Delft, where he ran the brewery De Slang for three years without much success. 


Steen lived in Warmond, just north of Leiden, from 1656 till 1660 and in Haarlem from 1660 till 1670 and in both periods he was especially productive. In 1670, after the death of his wife in 1669 and his father in 1670, Steen moved back to Leiden, where he stayed the rest of his life. When the art market collapsed in 1672, called the Year of Disaster, Steen opened a tavern. In April 1673 he married Maria van Egmont, who gave him another child. In 1674 he became president of the Saint Lucas Guild. Frans van Mieris became one of his drinking companions. He died in Leiden in 1679 and was interred in a family grave in the Pieterskerk. More

Johann Liss, German (c. 1597-1631)
The Satyr and the Peasant, c. 1623/1626
Oil on canvas
133.3 x 167.4 cm (52 1/2 x 65 7/8 in.)
National Gallery of Art, Washington, D.C.

Johann Liss (c. 1590 or 1597 - 1629 or 1630) was a leading German Baroque painter of the 17th century, active mainly in Venice. Liss was born in Oldenburg, Schleswig-Holstein, Germany. After an initial education in his home state, he continued his studies with Hendrick Goltzius in Haarlem and Amsterdam. Around 1620 he travelled through Paris to Venice. He moved to Rome around 1620–1622, and his first works there were influenced by the style of Caravaggio.

Although his earlier work was concerned with the contrasts of light and shadow, his final move to Venice in the early 1620s modified his style and gave impetus to brilliant color and a spirited treatment of the painted surface. In 1627, he was created an admired large altarpiece, the Inspiration of Saint Jerome in San Nicolò da Tolentino. His loose brushstrokes seem precursor to rococo styles of the Guardi brothers.This final style, along with that of other "foreign" painters residing in Venice, Domenico Fetti and Bernardo Strozzi, represent the first inroads of Baroque style into the republic.


His legacy is as a painter of both sensuous mythological and pious biblical subjects, a master of colors and Baroque painting. He was most influential to Venetian 18th-century painters like Sebastiano Ricci, Giovanni Battista Tiepolo and Giovanni Piazzetta. More

jordeans_satyr_and_peasant:
Jacob Jordaens, 1593 - 1678
Satyr and Peasant
c. 1615
67 x 51 cm
Oil on canvas
Glasgow Life, Glasgow Museums

Aesop’s ancient fable warns against the double minded, and Jordaens’ earliest known version seeks to visualize this lesson in several ways at once. The figure of the satyr – half man, half beast – literally embodies the idea of man’s conflicting spiritual and animal urges. This theme is echoed by the two women: one is modestly dressed, her head covered; the other wears a low-cut blouse and flowers in her hair. They could almost be seen as homespun personifications of spiritual and earthly love, respectively. More

Jacob Jordaens (19 May 1593 – 18 October 1678) was a Flemish painter, draughtsman and tapestry designer known for his history paintings, genre scenes and portraits. After Peter Paul Rubens and Anthony van Dyck, he was the leading Flemish Baroque painter of his day. Unlike those contemporaries he never travelled abroad to study Italian painting, and his career is marked by an indifference to their intellectual and courtly aspirations. In fact, except for a few short trips to locations in the Low Countries, he remained in Antwerp his entire life. As well as being a successful painter, he was a prominent designer of tapestries. Like Rubens, Jordaens painted altarpieces, mythological, and allegorical scenes, and after 1640—the year Rubens died—he was the most important painter in Antwerp for large-scale commissions and the status of his patrons increased in general. However, he is best known today for his numerous large genre scenes based on proverbs in the manner of his contemporary Jan Brueghel the Elder, depicting The King Drinks and As the Old Sing, So Pipe the Young. Jordaens' main artistic influences, besides Rubens and the Brueghel family, were northern Italian painters such as Jacopo Bassano, Paolo Veronese, and Caravaggio. More

Jacob Jordaens, 1593 - 1678
THE SATYR AND THE PEASANT FAMILY
oil on canvas
46 1/2 by 59 1/4 in.; 118.2 by 150.5 cm

Jacob Jordaens, 1593 - 1678, see above

Jacob Jordaens, 1593 - 1678
The Satyr and the Peasant, c. 1620s
Pushkin Gallery, Moscow

Jacob Jordaens, 1593 - 1678, see above

Jacob Jordaens, 1593 - 1678
The Satyr and the Peasant
Musées Royaux des Beaux-Arts, Brussels

Jacob Jordaens, 1593 - 1678, see above

Jacob Jordaens, 1593 - 1678
Satyr at the Peasant's House
174 × 204 cm (68.5 × 80.3 in)
Alte Pinakothek,  München, Germany

Jacob Jordaens, 1593 - 1678, see above

File:Jordaens3.jpg
Jacob Jordaens (1593–1678)
The Satyr and the Peasant, c. 1640

Jacob Jordaens, 1593 - 1678, see above

Jordaens-satyr-and-peasants
Jacob Jordaens (1593–1678)
The Eating Man, c. 1640
Variant

Jacob Jordaens, 1593 - 1678, see above

Satyr and Peasant:
Studio of Jacob Jordaens I (Antwerp 1593-1678) 
Satyr and Peasant 
oil on canvas, possibly transferred from panel 
66¼ x 70 5/8 in. (168.2 x 179.4 cm.) 

Jacob Jordaens, 1593 - 1678, see above

File:Willem van Herp satyr.Jpeg
Willem van Herp (circa 1613/1614–1677)
The Satyr and the Peasant, circa 1650

Willem van Herp (1614–1677) was a Flemish Baroque painter specializing in religious paintings and small cabinet paintings of "low-life" genre scenes. For a long time Willem van Herp was believed to have been a pupil of Peter Paul Rubens. Even though he was not his pupil he did borrow many of Rubens' motifs and touched up copies after Rubens for the art dealer Matthijs Musson. He was listed as an independent master in the Guild of St. Luke beginning in 1637. He spent his entire career in Antwerp. He was the master of Norbertus van Herp and Melchior Hamers More

File:Benjamin Gerritsz. Cuyp - The Satyr and the Peasant Family - WGA5846.jpg
Benjamin Gerritsz Cuyp (1612–1652)
The Satyr and the Peasant Family, first half of 17th century
Oil on panel
Height: 58 cm (22.8 in). Width: 75 cm (29.5 in).

Benjamin Gerritszoon Cuyp (December 1612 – 28 August 1652) was a Dutch Golden Age landscape painter. Cuyp was born, and died, in Dordrecht. According to Houbraken he was a pupil of his uncle, Jacob Gerritsz Cuyp, who taught him together with his son (Benjamin's cousin) Aelbert Cuyp. Houbraken felt Aelbert had neater brush strokes and Benjamin showed the rough approach of his teacher.


According to the RKD, Houbraken was mistaken about the family, and Benjamin and Jacob were both born in Dordrecht as the sons of a glasspainter from Venlo named Gerrit Gerritsz Cuyp. Benjamin learned to paint from his older half-brother, Jacob Gerritsz Cuyp. He was therefore the uncle, not the cousin, of the much more famous Aelbert Cuyp. He is known for allegorical pieces, genre works, beach scenes, military scenes, and landscapes. He influenced Barent van Kalraet, and was followed by Maerten Fransz van der Hulst. More

File:Le satyre et les paysans Ryckaert.jpg
David Rijckaert (III) (1612–1661)
The fable of the satyr and the peasant family, c. 1650s
Oil on canvas
111.4 × 153.2 cm (43.9 × 60.3 in)

David Rijckaert III, (2 December 1612 (baptized), Antwerp - 11 November 1661, Antwerp) was a Flemish painter known for his contribution to genre painting, in particular through his scenes of merry companies and peasants. He enjoyed the patronage of prominent patrons and was a painter to the court of the governor of the Southern Netherlands. More

File:Fabritius Satyr.JPG
Barent Fabritius (1624–1673)
The Satyr and the Peasant, c. 17th century
Oil on Canvas
Musée des Beaux-Arts de Caen, France

Barent or Bernard Pietersz Fabritius (or Fabricius) (November 16, 1624 (bapt.) - October 20, 1673 (buried)), was a Dutch painter. He was born at Middenbeemster, North Holland, the son of Pieter Carelsz. Fabritius. He studied with his brothers Johannes and Carel Fabritius, and probably with Rembrandt as well. He was a painter of biblical subjects (The three angels before Abraham, The presentation in the temple), mythical and historical scenes, in addition to expressive portraits. He died in Amsterdam. More





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Acknowledgement: Wikipedia