01 Works, RELIGIOUS ART - CONTEMPORARY & 20th Century Interpretation of the Bible! With Footnotes - 19

Kasia Derwinska, Spain

Prayer

Photography

Size: 15.7 H x 15.7 W x 0 in

Private collection

Kasia Derwinska "Photography is my way of communicating with the world. In my work, I talk about own experiences, thoughts, doubts, fears and hopes trying to reflect my own life's path. In addition to my experiences, my creations are inspired by night dreams as since childhood I remember most of them and I believe that dreams are the most simbolic language of our subconscious, a guide to navigate in the modern world. I am autodidactic and I don´t recognize myself as a photographer. I use photography as a tool, like a brush for painting or an instrument to play music. My work is an attempt to connect substantiality of the world that surrounds us with elusiveness of feelings and thoughts. For that reason I describe my creations as building a bridge between the visible and the invisible. My works are divided in four basic series: fairytales and fantasies, conceptual black and white, night dreams, and the color serie called "who sings, frightens away his fears"  More on Kasia Derwinska

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01 Works, RELIGIOUS ART - Interpretation of the Bible!, With Footnotes - 94

Sir Francis Bernard Dicksee, KCVO PRA (1853 – 1928) 

Paolo and Francesca, c. 1894

Oil on canvas

130 × 130 cm (51.2 × 51.2 in)

Private Collection

Francesca da Rimini or Francesca da Polenta (1255–ca. 1285) was the daughter of Guido da Polenta, lord of Ravenna. She was a historical contemporary of Dante Alighieri, who portrayed her as a character in the Divine Comedy.

Daughter of Guido I da Polenta of Ravenna, Francesca was wedded in or around 1275 to the brave, yet crippled Giovanni Malatesta. The marriage was a political one; Guido had been at war with the Malatesta family, and the marriage of his daughter to Giovanni was a way to solidify the peace that had been negotiated between the Malatesta and the Polenta families. While in Rimini, she fell in love with Giovanni’s younger (and still hale) brother, Paolo. Though Paolo too was married, they managed to carry on an affair for some ten years, until Giovanni ultimately surprised them in Francesca's bedroom sometime between 1283 and 1286, killing them both. 

In the first volume of The Divine Comedy, Dante and Virgil meet Francesca and her lover Paolo in the second circle of hell, reserved for the lustful. Here, the couple is trapped in an eternal whirlwind, doomed to be forever swept through the air just as they allowed themselves to be swept away by their passions. Dante calls out to the lovers, who are compelled to briefly pause before him, and he speaks with Francesca. She obliquely states a few of the details of her life and her death, and Dante, apparently familiar with her story, correctly identifies her by name. He asks her what led to her and Paolo's damnation, and Francesca's story strikes such a chord within Dante that he faints out of pity. More on Paolo and Francesca

Sir Francis Bernard Dicksee KCVO PRA (London 27 November 1853 – 17 October 1928) was an English Victorian painter and illustrator, best known for his pictures of dramatic literary, historical, and legendary scenes. He also was a noted painter of portraits of fashionable women, which helped to bring him success in his own time.

Dicksee's father, Thomas Dicksee, was a painter who taught Frank as well as his sister Margaret from a young age. Dicksee enrolled in the Royal Academy in 1870 and achieved early success. He was elected to the Academy in 1891 and became its President in 1924. He was knighted in 1925, and named to the Royal Victorian Order by King George V in 1927.

Dicksee painted The Funeral of a Viking (1893; Manchester Art Gallery), which was donated in 1928 by Arthur Burton in memory of his mother to the Corporation of Manchester. Victorian critics gave it both positive and negative reviews, for its perfection as a showpiece and for its dramatic and somewhat staged setting, respectively. The painting was used by Swedish Viking/Black metal band Bathory for the cover of their 1990 album, Hammerheart.  More on Sir Francis Bernard Dicksee 

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01 Works, RELIGIOUS ART - Interpretation of the Bible! from the SPANISH GOLDEN AGE, With Footnotes - 85

Joan Maçip Navarro, Called Juan De Juanes

The Crucifixion.

Juan de Juanes was the dominant artistic personality working in Valencia during the mid-sixteenth century and this representation of the Crucifixion was painted in 1578, the year before his death. A late masterpiece by Juanes, the present work is precisely the type of painting that earned the artist the reputation as the Raphael of Spain. More on this painting

The crucifixion of Jesus occurred in 1st century Judea, most probably between the years 30 and 33 AD. Jesus' crucifixion is described in the four canonical gospels, referred to in the New Testament epistles, attested to by other ancient sources, and is established as a historical event confirmed by non-Christian sources.

According to the canonical gospels, Jesus, the Christ, was arrested, tried, and sentenced by Pontius Pilate to be scourged, and finally crucified by the Romans. Jesus was stripped of his clothing and offered wine mixed with gall to drink, before being crucified. He was then hung between two convicted thieves and according to Mark's Gospel, died some six hours later. During this time, the soldiers affixed a sign to the top of the cross stating "Jesus of Nazareth, King of the Jews" in three languages. They then divided his garments among them, but cast lots for his seamless robe. After Jesus' death they pierced his side with a spear to be certain that he had died. More on the crucifixion

Juan de Juanes (c.1475-c.1545), was a Spanish painter, the son of the painter Vicente Macip , who had almost certainly studied in Italy, and probably in Venice. Juanes painted 'ideal' Counter-Reformation images, based on Leonardo's Last Supper and Raphael's Madonnas, but also with some influence from Flanders.

His work is technically less precise than that of his father in the delineation of form; he preferred sfumato effects in modelling, very different from the sharper sculptural outlines of Macip. In colour, Juanes preferred clear, luminous tones with which he achieved a characteristic Mannerist iridescence. His landscapes, too, differ from those of his father, becoming yet another decorative element. They often include classical ruins such as the pyramid of Caius Sextus or Egyptian obelisks, all of which are treated with the same delicacy and grace as his human forms. More Juan de Juanes

Acknowledgement:    , and others

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01 Works, RELIGIOUS ART - Interpretation of the Bible! from the SPANISH GOLDEN AGE, With Footnotes - 84

Juan Correa de Vivar (c.1510 - 16 April 1566)

Christ On The Road To Calvary

This panel was painted by Juan Correa de Vivar during the 1540s, and almost certainly formed part of the artist’s most important commission for the Cistercian Monastery of San Martín de Valdeiglesias, in the diocese of Toledo. It is an outstanding example of both Correa’s mature style and, more generally, the Mannerist tradition prevalent in Spain around the middle of the century, of which Correa himself was one of the leading exponents. More on this painting

Calvary, also Gagulta, was, according to the Gospels, a site immediately outside Jerusalem's walls where Jesus was said to have been crucified. Golgotha(s) is the Greek transcription in the New Testament of the Aramaic term Gagultâ. The Bible translates the term to mean place of [the] skull, which in Latin is Calvariæ Locus, from which the English word Calvary is derived. More on Calvary, also Gagulta 

Juan Correa de Vivar (c.1510 - 16 April 1566) was a Spanish painter born in Mascaraque. When Juan was 17 or 18 years old he joined an artist workshop in Burgundy where he met with many other Spanish artists at the time.

Juan was heavily influenced by Raphael. One of his most important works was the altarpiece of the church of Almonacid de Zorita, in the province of Guadalajara. This work was done in collaboration with Alonso de Covarrubias. It was destroyed in World War II in 1936-39. From Raphael he took his colorful tone and delicate and smooth figures. Over the years his style evolved into more dynamic forms of Mannerism.

In the province of Toledo have been found some of Juan’s better known works. They include the altarpiece of San Roque, in Almorox, and the altarpiece of the collegiate church of Torrijos, whose twelve tables were done with the help of students of their factory. The Museo del Prado of Madrid also includes many excellent examples of his work.

Some of the work came to him through familiar contacts. Juan’s paintings for the greater altarpiece of Clarisas of Nectarine, dated between 1532 and 1534, were funded by his uncle Don Rodrigo de Vivar. Included works in these early years are also the table of the Birth of the Santa María de Guadalupe monastery and the altarpiece of identical subject that Juan did for Stewing, which today can be found in both the Museo del Prado and the Museum of Santa Cruz de Toledo. 

Some of his masterpieces from the 1540s can be found at the monastery of San Martin de Valdeiglesias today. There were also highly admired altarpieces that were taken after the ecclesiastical confiscation of 1836 and given to the Prado, other pinacotecas like those of Saragossa or Vigo, and churches like San Jerónimo el Real of Madrid.

Between 1550 and 1566, the year of his death, Juan’s style became more personal, taking on a mannerism style that makes his figures more forceful and energetic, but without losing his traditional elegance. More on Juan Correa de Vivar

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