Florentine school circa 1700, circle of P. Dandini
Saint Cecilia
Oil on canvas
25 1/4 X 20 7/8 IN. 64 X 53 CM
Private Collection
Estimate for €1,500 - €2,000 in March 2017
St. Cecilia is one of the most famous of the Roman martyrs, even if the familiar stories about her are apparently not founded. The existence of the martyrs, however, is a historical fact. The relation between St. Cecilia and Valerianus, Tiburtius, and Maximus, mentioned in the Acts of the Martyrs, has perhaps some historical foundation.
It was long supposed that she was a noble lady of Rome who suffered martyrdom in about 230, under the Emperor Alexander Severus. According to the story, despite her vow of virginity, she was forced by her parents to marry a pagan nobleman named Valerian. During the wedding, Cecilia sat apart singing to God in her heart, and for that she was later declared the saint of musicians. When the time came for her marriage to be consummated, Cecilia told Valerian that watching over her was an angel of the Lord, who would punish him if he sexually violated her but would love him if he respected her virginity. When Valerian asked to see the angel, Cecilia replied that he could if he would go to the third milestone on the Via Appia and be baptized by Pope Urban I. After following Cecilia's advice, he saw the angel standing beside her and crowning her with a chaplet of roses and lilies.
The legend about Cecilia’s death says that after being struck three times on the neck with a sword, she lived for three days, and asked the pope to convert her home into a church.
Cecilia was buried at the Catacombs of St. Callistus, and then transferred to the Church of Santa Cecilia in Trastevere. In 1599, her body was found still incorrupt, seeming to be asleep. More St. Cecilia
Florentine painting or the Florentine
School refers to
artists in, from, or influenced by the naturalistic style developed in Florence
in the 14th century, largely through the efforts of Giotto di Bondone, and in
the 15th century the leading school of Western painting. Some of the best known
artists of the Florentine school, including other arts, are Filippo
Brunelleschi, Donatello, Michelangelo, Fra Angelico, Botticelli, Lippi,
Masolino, and Masaccio. More Florentine School
Jean Béraud, 1849 St. Petersburg - 1935 Paris
THE YOUNG WOMAN WITH THE CHILD, c. 1906
Oil on canvas
87 x 66 cm.
Private Collection
Sold for € 30,000 - 35,000
The upright, rectangular painting with a rounded top shows the Virgin and Child against a dark background. The present painting is part of the artist's very small religious oeuvre, including a painting from 1890 in the Musée d'Orsay and a Christ on the Column from 1901 with unknown whereabouts. All other paintings known by this artist reflect Parisian social life, but not religious themes. More on this painting
Jean Béraud (January 12, 1849 – October 4, 1935) was a French painter, noted for his paintings
of Parisian life during the Belle Époque. He was renowned in Paris society due
to his numerous paintings depicting the life of Paris, and the nightlife of
Paris society. He also painted religious subjects in a contemporary setting.
Pictures of the Champs Elysees, cafeés, Montmartre and the banks of the Seine
are precisely detailed illustrations of everyday Parisian era of the
"Belle Époque". More Jean Béraud,
Late 17th century Roman school
Saint Anthony of Padua: the fish preacher
Oil on canvas
49 X 69 1/2 IN. 124,5 X 176,5 CM
Private Collection
Sold for €1,950.00 in March 2017
Saint Anthony of Padua
(Portuguese: Santo António), born Fernando Martins de Bulhões (1195 – 13 June
1231), also known as Anthony of
Lisbon, was a Portuguese Catholic priest and friar of the Franciscan Order. He
was born and raised by a wealthy family in Lisbon, Portugal, and died in Padua,
Italy. Noted by his contemporaries for his forceful preaching, expert knowledge
of scripture, and undying love and devotion to the poor and the sick, he was
the second-most-quickly canonized saint after Peter of Verona. He was
proclaimed a Doctor of the Church on 16 January 1946. He is also the patron
saint of lost things. More on Saint Anthony of Padua
Roman School, 17th Century. Both Michelangelo and Raphael worked in Rome, making it the centre
of High Renaissance; in the 17th century it was the centre of the Baroque
movement represented by Bernini and Pietro da Cortona. From the 17th century
the presence of classical remains drew artists from all over Europe including
Poussin, Claude Lorrain, Piranesi, Pannini and Mengs.
In the
17th century Italian art was diffused mainly from Rome, the indisputable centre
of the Baroque.
Roman
Mannerism, spread abroad by the prolific work of Federico and Taddeo Zuccari,
was continued by Roncalli, called Pomarancio and especially by Giuseppe Cesari,
called Cavaliere d'Arpino, whose reputation was immense. The reaction against
Mannerism engendered two different movements, which were sometimes linked
together: one was realist with Caravaggio, the other eclectic and decorative
with the Carracci.
Caravaggio
brought about the greatest pictorial revolution of the century. His imposing
compositions, deliberately simplified, are remarkable for their rigorous sense
of reality and for the contrasting light falling from one side that accentuates
the volumes. He changed from small paintings of genre and still-life, clear in
light and cool in colour, to harsh realism, strongly modelled volumes and
dramatic light and shade. His work, like his life, caused much scandal and
excited international admiration.
Among the Italian disciples of Caravaggio Carlo
Saraceni was the only direct Venetian follower. Bartolomeo Manfredi imitated
Caravaggio's genre paintings; Orazio Gentileschi and his daughter Artemisia
Gentileschi showed a marked realism. Caravaggio's biographer and enemy,
Giovanni Baglione underwent his influence. More Roman School, 17th Century
Bolognese school, circle of N. Bertuzzi
Moses after crossing the Red Sea, circa 1700
Oil on canvas
7 1/2 X 11 IN. 19 X 28 CM
Private Collection
Estimated for €1,200 EUR - €1,500 EUR in May 2016
The Crossing of the Red Sea, or Sea of Reeds, is part of the biblical narrative of the escape of the Israelites, led by Moses, from the pursuing Egyptians in the Book of Exodus. This story is also mentioned in the Quran in Surah.
According to the Exodus account, Moses held out his staff and the Red Sea was parted by God. The Israelites walked on the exposed ground and crossed the sea, followed by the Egyptian army. Moses again moved his staff once the Israelites had crossed and the sea closed again, drowning the whole Egyptian army.
The narrative contains at least three and possibly four layers. In the first layer (the oldest), God blows the sea back with a strong east wind, allowing the Israelites to cross on dry land; in the second, Moses stretches out his hand and the waters part in two walls; in the third, God clogs the chariot wheels of the Egyptians and they flee (in this version the Egyptians do not even enter the water); and in the fourth, the Song of the Sea, God casts the Egyptians into tehomat, the mythical abyss. More on The Crossing of the Red Sea
The Bolognese School or the School of Bologna of painting flourished in Bologna, the capital of Emilia Romagna, between the 16th and 17th centuries in Italy, and rivalled Florence and Rome as the center of painting. Certain artistic conventions, which over time became traditionalist, had been developed in Rome during the first decades of the 16th century. As time passed, some artists sought new approaches to their work that no longer reflected only the Roman manner. The Carracci studio sought innovation or invention, seeking new ways to break away from traditional modes of painting while continuing to look for inspiration from their literary contemporaries. This style was seen as both systematic and imitative, borrowing particular motifs from the past Roman schools of art and innovating a modernistic approach. More on The Bolognese School
Attr. to D. Teniers II, (1610-1690)
Simeon welcoming the Child Jesus
Oil on copper
8 11/16 X 6 11/16 IN. 22 X 17 CM
Private Collection
Sold for €1,950.00 in March 2017
Simeon (Simeon the God-receiver) is the "just and devout" man of Jerusalem who met Mary, Joseph, and Jesus as they entered the Temple to fulfill the requirements of the Law of Moses on the 40th day from Jesus' birth at the presentation of Jesus at the Temple.
According to the Biblical account, Simeon had been visited by the Holy Spirit and told that he would not die until he had seen the Lord's Christ. On taking Jesus into his arms he uttered a prayer, which is still used liturgically as the Latin Nunc dimittis in many Christian churches, and gave a prophecy alluding to the crucifixion. More Simeon
David Teniers the Younger (15 December 1610
– 25 April 1690) was a Flemish artist born in Antwerp, the son of David Teniers the
Elder. His son David Teniers III and his grandson David Teniers IV were also
painters.
Through his father, he was indirectly influenced
by Elsheimer and by Rubens. The influence of Adriaen Brouwer can be traced to
the outset of his career. There is no evidence, however, that either Rubens or
Brouwer interfered in any way with Teniers's education. The only trace of
personal relations having existed between Teniers and Rubens is the fact that
the ward of the latter, Anne Breughel, the daughter of Jan (Velvet) Breughel,
married Teniers in 1637. More Teniers
Spanish school, circa 1660
The Visitation
Oil on canvas
20 7/8 X 15 15/16 IN. 53 X 40,5 CM
Private Collection
The Visitation. Mary visits her relative
Elizabeth; they are both pregnant. Mary is pregnant with Jesus and Elizabeth is
pregnant with John the Baptist. Elizabeth was in the sixth month before Mary
came. Mary stayed three months, and most scholars hold she stayed for the birth
of John. The apparition of the angel, mentioned in Matthew, may have taken
place then to end the tormenting doubts of Joseph regarding Mary's maternity.
In Catholicism, it is held that the purpose of this visit was to
bring divine grace to both Elizabeth and her unborn child. Even though he was
still in his mother's womb, John became aware of the presence of Christ, and
leapt for joy as he was cleansed from original sin and filled with divine
grace. Elizabeth also responded and recognised the presence of Jesus, and thus
Mary exercised her function as mediatrix between God and man for the first
time. More on The
Visitation
Spanish School, 16th Century. In the sixteenth century when Spain
became a world power with vast possessions and sources of wealth in the New
World, as well as possessions dotted about Europe, it might have been expected
that a vigorous national school of painting would emerge, transforming the
somewhat tentative or imitative character that painting in Spain had shown up
to then. It turned out otherwise. For most of the 16th century, painting
remained spiritless. Both the Emperor Charles V and his son Philip II of Spain
were patrons with a feeling for art, but the great Venetians, especially
Titian, claimed most of their interest. Philip also highly approved of the
fantasies of Hieronymus Bosch (1450-1516) - although the top Spanish clergy
suspected heresy in these strange pictures from the Netherlands. More on the Spanish School
Spanish school circa 1640,
Jesus the carpenter
Oil on canvas
13 3/16 X 19 5/16 33,5 X 49 CM
Private Collection
Estimate for €1,500 - €2,000 in March 2017
Jesus the carpenter. A typical Jew in Jesus' time had only one name, sometimes supplemented with the father's name or the individual's hometown. Thus, in the New Testament, Jesus is commonly referred to as "Jesus of Nazareth". Jesus' neighbors in Nazareth refer to him as "the carpenter, the son of Mary and brother of James and Joses and Judas and Simon", "the carpenter's son", or "Joseph's son". In John, the disciple Philip refers to him as "Jesus son of Joseph from Nazareth". More on Jesus the carpenter
Spanish school, see above
Florentine school, circa 1700, follower of J. da Empoli
Annunciation
Oil on canvas
43 5/16 X 34 13/16 IN. 110 X 88,5 CM
Private CollectionSold for €4,680.00 in October 2017
The Annunciation referred to as the
Annunciation to the Blessed Virgin Mary, the Annunciation of Our Lady, or the
Annunciation of the Lord, is the Christian celebration of the announcement by
the angel Gabriel to the Virgin Mary that she would conceive and become the mother
of Jesus, the Son of God, marking his Incarnation. Gabriel told Mary to name
her son Yehoshua , meaning "YHWH is salvation".
According to Luke 1:26, the Annunciation
occurred "in the sixth month" of Elizabeth's pregnancy. Many
Christians observe this event with the Feast of the Annunciation on 25 March,
an approximation of the northern vernal equinox nine full months before
Christmas, the ceremonial birthday of Jesus. In England, this came to be known
as Lady Day. It marked the new year until 1752. The 2nd-century writer Irenaeus
of Lyon regarded the conception of Jesus as 25 March coinciding with the
Passion. More The
Annunciation
Florentine painting or the
Florentine School refers to artists in, from, or influenced by the
naturalistic style developed in Florence in the 14th century, largely through
the efforts of Giotto di Bondone, and in the 15th century the leading school of
Western painting. Some of the best known artists of the Florentine school,
including other arts, are Filippo Brunelleschi, Donatello, Michelangelo, Fra
Angelico, Botticelli, Lippi, Masolino, and Masaccio. More
Florentine School
Hans Makart, 1840 Salzburg - 1884 Vienna
SUSANNA AND THE ELDERS, c. 1860/62
. Oil on canvas
161 x 79 cm.
Private Collection
The naked Susanna, lying on a rocky fountain, fell asleep during bathing. Innocently dreaming under a tree, she barely reveals her bodily stimuli - only lightly covered with a white cloth. At her feet different birds and a water drinking peacock (symbol of beauty and immortality), in the background by her head the source of the stream. Behind a rocky protrusion, the two lusty old men are lurking.
The picture was painted around 1860/62 and was certainly inspired by the painting by A. v. Dyck in the Old Pinakothek in Munich "Susanna and the two old ones." More on this painting
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 about Susanna
Hans Makart (Austrian, 1840 - 1884), was
a Austrian academic history painter, designer, and decorator. Studied
under Josef Schiffmann and Karl Theodor von Piloty.
Son of a chamberlain at Mirabell castle. After a short study at
the Academy in Vienna he was educated by Karl Theodor von Piloty in Munich
(1860-1865) and travelled to London, Paris and Rome to study. He returned to
Vienna after the prince Von Hohenlohe provided him with an old foundry to use
as a studio. It gradually turned it into an impressive place full of
sculptures, flowers, musical instruments, requisites and jewellery that he used
to create classical settings for his portraits, mainly of women. Eventually his
studio looked like a salon and became a social meeting point in Vienna. Makart
became famous for his richly coloured history paintings and enjoyed his finest
hour in 1879 with his painting of the procession in honour of the silver
anniversary of the marriage of emperor Francis Joseph and his wife Elisabeth.
In the same year he became a Professor at the Academy. Makart also designed
furniture and interiors. More Hans
Makart
Roman School, 17th century
THE REST ON THE FLIGHT TO EGYPT
Oil on canvas, unlined
28.8 x 20.5 cm.; 11 3/8 x 8 in
Private Collection
THE REST ON THE FLIGHT TO EGYPT. The scene is based not on any incident in the Bible itself, but on a body of tales or legends that had grown up in the early Middle Ages around the Bible story of the Holy Family fleeing into Egypt for refuge on being warned that Herod the Great was seeking to kill the Christ Child. According to the legend, Joseph and Mary paused on the flight in a grove of trees; the Holy Child ordered the trees to bend down so that Joseph could take fruit from them, and then ordered a spring of water to gush forth from the roots so that his parents could quench their thirst. This basic story acquired many extra details during the centuries. More on THE REST ON THE FLIGHT TO EGYPT
Roman school, see above
Follower of Paolo Caliari, called Paolo Veronese
THE REST ON THE RETURN TO EGYPT
oil on canvas
24.5 x 59.3 cm.; 9 5/8 x 23 3/8 in.
Private Collection
THE REST ON THE RETURN TO EGYPT, see above
Paolo Caliari, known as Paolo Veronese (1528 – 19
April 1588) was an Italian Renaissance painter based in Venice,
most famous for large history paintings of both religious and mythological
subjects, such as The Wedding at Cana and The Feast in the House of Levi. With
Titian, who was at least a generation older, and Tintoretto, ten years older,
he was one of the "great trio that dominated Venetian painting of the
cinquecento" or 16th-century late Renaissance. Veronese is known as a
supreme colorist, and after an early period with Mannerist influence turned to
a more naturalist style influenced by Titian.
His most
famous works are elaborate narrative cycles, executed in a dramatic and
colorful style, full of majestic architectural settings and glittering
pageantry. His large paintings of biblical feasts, crowded with figures,
painted for the refectories of monasteries in Venice and Verona are especially
famous, and he was also the leading Venetian painter of ceilings. Most of these
works remain in situ, or at least in Venice, and his representation in most
museums is mainly composed of smaller works such as portraits that do not
always show him at his best or most typical.
He has always been appreciated for "the chromatic
brilliance of his palette, the splendor and sensibility of his brushwork, the
aristocratic elegance of his figures, and the magnificence of his
spectacle", but his work has been felt "not to permit expression of
the profound, the human, or the sublime", and of the "great
trio" he has often been the least appreciated by modern criticism.
Nonetheless, "many of the greatest artists ... may be counted among his
admirers, including Rubens, Watteau, Tiepolo, Delacroix and Renoir". More on Paolo Caliari
Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest
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