After BARTOLOMÉ ESTEBÁN MURILLO, (Spanish 1618-1682)
The Virgin and Child
Oil on canvas
44.5 inches x 30.5 inches (113 x 77.5 cm)
Private Collection
Bartolomé Esteban Murillo (born late December 1617, baptized
January 1, 1618 – April 3, 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
Milanese School, 16th Century, SALVATOR MUNDI
Penitent Magdalen (?)
Oil on panel
18 3/4 by 14 3/8 in.; 47.5 by 36.5 cm
Private Collection
This depiction represent the Penitent Magdalen, who according to medieval legend had spent a period of repentance as a desert hermit after leaving her life as a follower of Jesus. Her story became conflated in the West with that of Saint Mary of Egypt, a 4th-century prostitute turned hermit, whose clothes wore out and fell off in the desert. She often wears only a drape pulled around her, or an undergarment. Her most common attribute is the alabaster jar from which she anointed Jesus. With her right hand the sign of benediction. More
Mary Magdalene was a Jewish woman who, according to texts included in the New Testament, traveled with Jesus as one of his followers. She is said to have witnessed Jesus' crucifixion and resurrection. Based on texts of the early Christian era in the third century, it seems that her status as an “apostle" rivals even Peter's.
She is most prominent in the narrative of the crucifixion of Jesus, at which she was present. She was also present two days later, either alone or as a member of a group of women, the first to testify to the resurrection of Jesus.
Ideas that go beyond the gospel presentation of Mary Magdalene as a prominent representative of the women who followed Jesus have been put forward over the centuries.
During the Middle Ages, Mary Magdalene was regarded in Western Christianity as a repentant prostitute or promiscuous woman, claims not found in any of the four canonical gospels. More Mary Magdalene
School of Milan, Milanese School. In the 15th and early part of the 16th century Milan had one of the most important schools in Italy. Its first member of any note was Vincenzo Foppa, who was painting in 1457 and was the founder of the early school.
Ambrogio Borgognone (born c. 1455) was an artist of great merit and strong religious sentiment. He followed in the footsteps of Foppa, and his pictures are remarkable for the calm beauty of the faces, and for their delicate colour, which recalls the manner of Piero della Francesca. More Milanese School
Studio of Simone Pignoni, FLORENCE 1611 - 1698
THE PENITENT MAGDALENE
Oil on canvas
26 1/8 by 19 1/4 in.; 66.2 by 48.7 cm.
Private Collection
Simone Pignoni (April 17, 1611 – December 16, 1698) was an Italian painter of the Baroque period. He is best known for painting in a style reminiscent of the morbidly sensual Furini. Reflective of this obsession is his self-portrait, c. 1650, in which he depicts himself building up a plump naked female from a skeleton. The biographer Baldinucci, in what little he notes of the painter, recalls him as the scandalous "imitator of (Furini's) licentious inventions".
Among his more conventional works are a St. Agatha cured by St. Peter (attributed) in the Museo Civico di Trieste; a St. Louis providing a banquet for the poor (c. 1682) now in the church of Santa Felicita in Florence, commissioned by Conte Luigi Gucciardini; and a Madonna and child in glory with archangels Saints Michael and Raphael in battle armor and San Antonio of Padua (1671) for the Cappella di San Michele in Santissima Annunziata. He painted an Allegory of Peace in Palazzo Vecchio. A Penitent Magdalen that has been attributed to Pignoni is found in the Pitti Palace. In San Bartolomeo in Monteoliveto, he painted a Madonna appearing to Blessed Bernardo Tolomeo. More Simone Pignoni
François-Léon Comerre, TRÉLON 1850 - 1916 PARIS
Le manteau legendaire
Oil on canvas
64,5 x 92,5 cm; 25 3/8 by 36 3/8 in
Private Collection
The composition is inspired by the poem Le manteau legendaire by Emmanuel Duclos. After Joseph had been sold to merchants by his brothers, he was bought by the Egyptian Putiphar, who was then the equivalent of the minister of justice of Pharaoh. Treated as an equal by his master, while he was the slave, Joseph had a certain affection for Putiphar. His wife, Zulikha, had fallen in love with the young man, renowned for his beauty. She made several advances to him, which the young slave never ceased to reject. One day when they were alone, Zulikha approached Joseph and grabbed his tunic. He walked away, tearing the clothes. Raging with rage, Putiphar's wife cried out that Joseph had tried to take advantage of her, And used the piece of cloth as proof of aggression. When he heard this story, Putiphar had Joseph thrown into prison.
Leon Comerre chooses the moment when the wife of Putiphar holds the tunic of Joseph in his hands, his eyes expressing both his spite and his determination. She presents herself to us like a feline, ready to condemn the man who attracted her to punish her for not falling under her spell. More Le manteau legendaire
François-Léon Comerre, TRÉLON 1850 - 1916 PARIS
Study For Le Manteau Legendaire
Oil on canvas
74.3 × 115.6 cm (29.3 × 45.5 in)
Private Collection
François-Léon Comerre, TRÉLON 1850 - 1916 PARIS
Study For Le Manteau Legendaire
Oil on canvas
74.3 × 115.6 cm (29.3 × 45.5 in)
Private Collection
François-Léon Comerre, TRÉLON 1850 - 1916 PARIS) was a French academic painter, famous for his portraits of beautiful
women. Comerre was born in Trélon, in the
Département du Nord, the son of a schoolteacher. He moved to Lille with his
family in 1853. From an early age he showed an interest in art and became a
student of Alphonse Colas at the École des Beaux-Arts in Lille, winning a gold
medal in 1867. From 1868 a grant from the Département du Nord allowed him to
continue his studies in Paris at the famous École nationale supérieure des
Beaux-Arts in the studio of Alexandre Cabanel. There he came under the
influence of orientalism.
Comerre first exhibited at the Paris Salon in
1871 and went on to win prizes in 1875 and 1881. In 1875 he won the Grand Prix
de Rome. This led to a scholarship at the French Academy in Rome from January
1876 to December 1879. In 1885 he won a prize at the "Exposition
Universelle" in Antwerp. He also won prestigious art prizes in the USA
(1876) and Australia (1881 and 1897). He became a Knight of the Legion of
Honour in 1903. More Léon Comerre
BRUGES SCHOOL CIRCA XVITH CENTURY, CIRCLE OF GÉRARD DAVID;
SAINT JOSEPH PREPARING THE MILK SOUP
Oil on panel, fragment
23.5 x 16.5 cm; 9 1/4 by 6 1/2 in
Private Collection
According to legend, there was famine in Sicily and the villagers prayed to Saint Joseph for help. Their prayers were answered and the end of the famine was celebrated with a special feast in his honor. This celebration became tradition, and each year thereafter, the wealthier families would prepare a huge buffet (also known as the St. Joseph’s Table) for those less fortunate to enjoy. Although not widely recognized in the United States, it has greater significance in Italy, Spain and Portugal, as it’s also Father’s Day. More
DAVID, Gerard, (b. ca. 1460,
Oudewater, d. 1523, Bruges), Flemish painter who was the last great
master of the Bruges school. David went to Bruges, presumably from Haarlem, where he is
supposed to have formed his early style under the instruction of Albert van Ouwater; he joined
the guild of St Luke at Bruges in 1484 and became dean in 1501.
In his early work he followed the Haarlem tradition as
represented by Ouwater and Geertgen tot Sint Jans but already shown evidence of
his superiority as a colourist. But the works on which David's fame rests most
securely are his great altarpieces. These are mature works - severe yet richly
coloured, showing a masterful handling of light, volume, and space. The
Judgment panels are especially notable for being among the earliest Flemish
paintings to employ such Italian Renaissance devices as putti and garlands. In
Antwerp David became impressed by the life and movement in the work of Quentin
Massys, who had introduced a more intimate and more human conception of sacred
themes. More
Benjamin West, P.R.A., SWARTHMORE 1738 - 1820 LONDON
THE WISE MEN'S OFFERING
Oil on canvas
27 by 22 in.; 68.5 by 56 cm.
Private Collection
Traditional nativity scenes depict three "kings" visiting the infant Jesus on the night of his birth, in a manger accompanied by the shepherds and angels, but this should be understood as an artistic convention allowing the two separate scenes of the Adoration of the Shepherds on the birth night and the later Adoration of the Magi to be combined for convenience
Benjamin West PRA (October 10, 1738 –
March 11, 1820) was an
Anglo-American painter of historical scenes around and after the time of the
American War of Independence and the Seven Years' War. He was the second
president of the Royal Academy in London, serving from 1792 to 1805 and 1806 to
1820. He was offered a knighthood by the British Crown, but declined it,
believing that he should instead be made a peer. He said that "Art is the
representation of human beauty, ideally perfect in design, graceful and noble
in attitude. More Benjamin West
Utrecht School, circa 1630
ADAM AND EVE
oil on unlined canvas
overall, with added strip: 47 by 35 1/2 in.; 119.4 by 90.2 cm.
without addition: 43 7/8 by 35 1/2 in.; 111.5 by 90.2 cm.
Utrecht school, principally a group of three Dutch painters—Dirck van Baburen (c. 1590–1624), Gerrit van Honthorst (1590–1656), and Hendrik Terbrugghen (1588–1629)—who went to Rome and fell fully under the pervasive influence of Caravaggio’s art before returning to Utrecht. Although none of them ever actually met Caravaggio, each had access to his paintings, knew his former patrons, and was influenced by the work of his follower Bartholomeo Manfredi, especially his half-length figural groups, which were boldly derived from Caravaggio and occasionally passed off as the deceased master’s works.
Back in the Netherlands the “Caravaggisti” were eager to demonstrate what they had learned. Their subjects are frequently religious ones, but brothel scenes and pictures in sets, such as five works devoted to the senses, were popular with them also. The numerous candles, lanterns, and other sources of artificial light are characteristic and further underscore the indebtedness to Caravaggio.
Although Honthorst enjoyed the widest reputation at the time, painting at both the Dutch and English courts, Terbrugghen is generally regarded as the most talented and versatile of the group. More Utrecht school
Master Johannes
ACTIVE IN THE BRABANT AT THE BEGINNING OF THE XVI CENTURY
SAINT JEAN-BAPTISTE SAINTE AGNÈS
Oil on panel, one pair
Shutters of triptych, one parqueted
69 x 23,5 cm; 27 1/8 by 9 1/4 in
Private Collection
Master Johannes. A beginning to the identity of this painter was very recently revealed. It was by the discovery of an act of payment of the altarpiece, today in the church Maria-ter-Heide, to a certain painter "Johannes" in the year 1513, the artist of these five works 3 . His surname, his hometown, his dates of birth and death remain mysteries. More Master Johannes
Flemish School, 17th Century
A KITCHEN IN A CONVENT
Oil on panel
24 3/4 by 33 1/4 in.; 62.5 by 84.5 cm
Private Collection
Flemish School, 17th Century
ADAM AND EVE
oil on panel, unframed
16 by 19 in.; 40.7 by 48.4 cm.
Private Collection
Circle of JACOB WILLEMSZ DE WET, (Dutch 1610-1672)
Volumnia Before Coriolanus
Oil on canvas
Unsigned
27.8 inches x 35.8 inches (70.5 x 91 cm)
Private Collection
Volumnia is a character in William Shakespeare's play Coriolanus, the mother of Caius Martius Coriolanus. She plays a large role in Coriolanus' life, encouraging him in his military success and urging him to seek political office. When the people of Rome put her son in exile and he joins their military enemies, she manages to persuade him not to besiege Rome and becomes a heroine to the city.
Jacob Willemszoon de Wet or Jacob Willemsz.
de Wet the Elder (c. 1610 – between 1675 and 1691) was a Dutch Golden Age painter, whose works were largely influenced
by Rembrandt. De Wet was born and died in Haarlem. Little is known of his early
life. Houbraken mentions him in passing as an art dealer of Haarlem in his
biographical sketch of Philips Wouwerman, referring to him as Jan de Wet.
De Wet left a notebook that mentions a total of
34 pupils, most famously Paulus Potter. Other notable pupils were Job Adriaensz
Berckheyde, Adriaen Jansz Kraen, Johann Philip Lemke, Jan Vermeer van Haarlem I
(not to be confused with Vermeer of Delft), Jacob de Wet II, and Kort Withold.
He became a member of the Haarlem Guild of St. Luke in 1632. Judging from the
number of pupils, and the difficulties his son Jacob II had with launching an
independent career, it seems that De Wet had a large and successful practise in
Haarlem. His son Jacob II was the only one of 5 children who also became a
painter. More
Circle of JOSEPH VON FUHRICH, (Austrian 1800-1876)
The Crucifixion - circa 1850
Oil on canvas
54.25 inches x 31 inches (137.9 x 79 cm)
Private Collection
Joseph von Führich [or Josef Ritter von
Führich] (February 9, 1800 – March 13, 1876) was an Austrian painter, one of
the Nazarenes. He was born in Bohemia. Deeply impressed as a boy by rustic
pictures adorning the wayside chapels of his native country, his first attempt
at composition was a sketch of the Nativity for the festival of Christmas in
his father's house. He lived to see the day when, becoming celebrated as a
composer of scriptural episodes, his sacred subjects were transferred in
numberless repetitions to the roadside churches of the Austrian state, where
peasants thus learnt to admire modern art reviving the models of earlier ages.
Essentially creative as a landscape draughtsman,
he had no feeling for colour; and when he produced monumental pictures he was
not nearly so successful as when designing subjects for woodcuts. Führich's
fame extended far beyond the Austrian capital. In 1831 he finished the
"Triumph of Christ", later in the Raczynski palace at Berlin. In 1834
he was made custos and in 1841 professor of composition in the Academy of
Vienna. More
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