01 Works, RELIGIOUS ART - Interpretation the bible, Andrea Solari's Madonna of the Green Cushion, with Footnotes - 114

Andrea Solari, (1460–1524)
Madonna of the Green Cushion, circa 1507
Tempera and oil on poplar wood
Height: 59.5 cm (23.4 in); Width: 47.5 cm (18.7 in)
Louvre Museum 

At the beginning of the 17th century this painting was found in the Cordelier (Franciscan) convent in Blois, but its previous history is unknown. It probably dates to the period of Solario's stay in France (1507-1510) in the service of Georges d'Amboise; it is possible, however, that the work was painted for the latter's nephew, Charles II d'Amboise, governor of the Duchy of Milan, upon the artist's return to Italy.

Madonna with the Green Cushion, a devotional image of the Virgin nursing Jesus, has been so called since the 17th century due to the motif of the green cushion placed on a marble plinth in the foreground. This detail accompanies the scene of family tenderness and well-being. More on this painting

Andrea Solari (also Solario) (1460–1524) was an Italian Renaissance painter of the Milanese school. He was initially named Andre del Gobbo, but more confusingly as Andrea del Bartolo a name shared with two other Italian painters, the 14th Century Siennese Andrea di Bartolo, and the 15th Century Florentine Andrea di Bartolo.

His paintings can be seen in Venice, Milan, The Louvre and the Château de Gaillon (Normandie, France). One of his better-known paintings is the Virgin of the Green Cushion (c. 1507) in the Louvre

Solario was one of the most important followers of Leonardo da Vinci, and brother of Cristoforo Solari, who gave him his first training. In 1490 he accompanied his brother to Venice, where he seems to have been strongly influenced by Antonello da Messina, who was then active in the city. The two brothers returned to Milan in 1493. The Ecce Homo at the Poldi-Pezzoli Museum, notable for its strong modelling, may have been painted soon after his arrival.

In 1507 Andrea Solari went to France with letters of introduction to the Cardinal of Amboise, and was employed for two years on frescoes in the chapel of his castle of Gaillon in Normandy.


Andrea's last work was an altarpiece representing The Assumption of the Virgin, left unfinished at his death and completed by Bernardino Campi about 1576. More on Andrea Solari 




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01 Paintings, Olympian deities, by the Old Masters, with footnotes # 25

Gillis Coignet, (1542 – 1599)
Leda and the Swan
Oil on oak panel
96.2 x 126 cm.; 37 3/4  x 49 1/2  in.
Private collection

Leda, in Greek legend, usually believed to be the daughter of Thestius, king of Aetolia, and wife of Tyndareus, king of Lacedaemon. She was also believed to have been the mother (by Zeus, who had approached and seduced her in the form of a swan) of the other twin, Pollux, and of Helen, both of whom hatched from eggs. Variant legends gave divine parentage to both the twins and possibly also to Clytemnestra, with all three of them having hatched from the eggs of Leda, while yet other legends say that Leda bore the twins to her mortal husband, Tyndareus. Still other variants say that Leda may have hatched out Helen from an egg laid by the goddess Nemesis, who was similarly approached by Zeus in the form of a swan.The divine swan’s encounter with Leda was a subject depicted by both ancient Greek and Italian Renaissance artists; Leonardo da Vinci undertook a painting (now lost) of the theme, and Correggio’s Leda (c. 1530s) is a well-known treatment of the subject. More Leda and The Swan

Gillis Coignet, Congnet or Quiniet (c. 1542 – 1599) was a Flemish Renaissance painter, who was strongly influenced by the Italian style. He painted historical and mythological subjects of an easel size, but was more successful in landscapes, in candlelight subjects, and moonlight. He was a Lutheran, which probably influenced his moves from Antwerp to Amsterdam and then Hamburg. He spent most of the 1560s in Italy. More on Gillis Coignet



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02 Works, RELIGIOUS ART - Interpretation of the Bible! With Footnotes - 27

Francesco Brina,  (1540–1586)
Madonna and child with young St John, 
Oil on panel
54.5 × 43 cm (21.4 × 16.9 in)
Private collection

This painting depicts the "Virgo lactans," the Latin term for the nursing Virgin Mary. The image testifies to the humanity of Christ as it shows that he consumed food like all other humans. The young Saint John the Baptist, Jesus' second cousin, praying. John the Baptist was the patron saint of Florence, and the painting comes from the Florentine artist Francesco Brina's workshop.


The Madonna and Child or The Virgin and Child is often the name of a work of art which shows the Virgin Mary and the Child Jesus. The word Madonna means "My Lady" in Italian. Artworks of the Christ Child and his mother Mary are part of the Roman Catholic tradition in many parts of the world including Italy, Spain, Portugal, France, South America and the Philippines. Paintings known as icons are also an important tradition of the Orthodox Church and often show the Mary and the Christ Child. They are found particularly in Eastern Europe, Russia, Egypt, the Middle East and India. More Madonna and Child

John the Baptist (sometimes called John in the Wilderness; also referred to as the Angel of the Desert) was the subject of at least eight paintings by the Italian Baroque artist Michelangelo Merisi da Caravaggio (1571–1610).

The story of John the Baptist is told in the Gospels. John was the cousin of Jesus, and his calling was to prepare the way for the coming of the Messiah. He lived in the wilderness of Judea between Jerusalem and the Dead Sea, "his raiment of camel's hair, and a leather girdle about his loins; and his meat was locusts and wild honey." He baptised Jesus in the Jordan.

According to the Bible, King Herod's daughter Salome requested Saint John the Baptist's beheading. She was prompted by her mother, Herodias, who sought revenge, because the prophet had condemned her incestuous marriage to Herod. More John the Baptist

Francesco Brina,  (1540–1586)
Madonna col Bambino e San Giovannino, 16th century
Oil on panel
75 × 65 cm (29.5 × 25.5 in)
Pandolfini, Florence

Francesco Brina or Del Brina or Brini (1540 – 1586) was an Italian painter of the Mannerist period, active mainly in Florence.


S.J. Freedburg ascribes his training to either Ridolfo Ghirlandaio or more likely his son, Michele di Ridolfo. He holds him to have followed the "most conservative adaptation of the Vasarian maniera". He appeared to limit his output to mostly devotional Madonna and Child paintings, and in this endeavor, paraphrasing the compositions and expressions of Andrea del Sarto. His brother Giovanni Brina (died 1599) helped Francesco in his work and copied his style. More on Francesco Brina 





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