01 Painting, Olympian deities, with footnotes # 26

Maximilian Pirner  (1854–1924)

Hekate , c. 1901

Pastel on paper

55 × 89 cm (21.6 × 35 in)

Private collection

Hecate or Hekate is a goddess in ancient Greek religion and mythology, most often shown holding a pair of torches or a key and in later periods depicted in triple form. She was variously associated with crossroads, entrance-ways, light, magic, witchcraft, knowledge of herbs and poisonous plants, ghosts, necromancy, and sorcery. She appears in the Homeric Hymn to Demeter and in Hesiod's Theogony, where she is promoted strongly as a great goddess. The place of origin of her following is uncertain, but it is thought that she had popular followings in Thrace. She was one of the main deities worshiped in Athenian households as a protective goddess and one who bestowed prosperity and daily blessings on the family. In the post-Christian writings of the Chaldean Oracles (2nd–3rd century CE) she was regarded with rulership over earth, sea, and sky, as well as a more universal role as Saviour, Mother of Angels and the Cosmic World Soul. Regarding the nature of her cult, it has been remarked, "she is more at home on the fringes than in the center of Greek polytheism. Intrinsically ambivalent and polymorphous, she straddles conventional boundaries and eludes definition." More on Hekate 

Maximilian Pirner (February 13, 1853 in Schüttenhofen, Bohemia – April 2, 1924 in Prague) was a Czech painter. He was a member of the Vienna Secession, and associated with the Mánes Union of Fine Arts.

He was enrolled from 1872 to 1874 at the Academy of Fine Arts, Prague and from 1875 to 1879 at the Academy of Fine Arts, Vienna. He remained in Vienna until 1887, although he was not an active participant in the local artistic community. At that time, he became a teacher at the Academy in Prague and was named a Professor there in 1896

Pirner's usual themes were classical mythology (such as his Medusa (1891) and Hecate (Above). Pirner completed a number of sketches of female figures, many of them nudes. He also did stained glass windows and medals.


Described by one critic as having achieved "mastery of the sinuous line". Pirner also had his detractors. One contemporary critic, while acknowledging Pirner's talent, considered him an "over-sophisticated mystic." More on Maximilian Pirner 

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01 Works, RELIGIOUS ART - Interpretation the bible, With Footnotes - 115

Follower of Albrecht Bouts, Late 16th Century
CHRIST CROWNED WITH THORNS AND THE VIRGIN OF SORROWS
Oil on panel
29 1/2  by 39 1/2  in.; 75 by 100.5 cm.

Private collection

According to three of the canonical Gospels, a woven crown of thorns was placed on the head of Jesus during the events leading up to the crucifixion of Jesus. It was one of the instruments of the Passion, employed by Jesus' captors both to cause him pain and to mock his claim of authority. It is mentioned in the gospels of Matthew ('And when they had platted a crown of thorns, they put it upon his head, and a reed in his right hand: and they bowed the knee and mocked him, saying Hail, King of the Jews!' More on the Crown of thorns

Our Lady of Sorrows, the Sorrowful Mother or Mother of Sorrows, and Our Lady of Piety, Our Lady of the Seven Sorrows or Our Lady of the Seven Dolours are names by which the Blessed Virgin Mary is referred to in relation to sorrows in her life. As Mater Dolorosa, it is also a key subject for Marian art in the Catholic Church.

The Seven Sorrows of Mary are a popular Roman Catholic devotion. In common religious Catholic imagery, the Blessed Virgin Mary is portrayed in a sorrowful and lacrimating affect, with seven daggers piercing her heart, often bleeding. Devotional prayers that consist of meditation began to elaborate on her Seven Sorrows based on the prophecy of Simeon. Common examples of piety under this title are Servite rosary, or the Chaplet of the Seven Sorrows of Our Lady and the Seven Joys of Mary and more recently, "Sorrowful and Immaculate Heart of Mary". More on Lady of Sorrows

Aelbrecht Bouts (c.1452 - March 1549) was a Belgian painter of the Early Netherlandish era. He was born into a family of painters in Leuven. Aelbrecht’s father was Dieric Bouts the Elder (c. 1415-1475), and his brother was Dieric Bouts the Younger (c. 1448-1490). Jan Bouts (c. 1478-c. 1530), son of Dieric Bouts the Younger, also became a painter. Dieric Bouts the Younger inherited his father’s shop in 1475, while Aelbrecht established his own workshop, also in Leuven. Whereas Dieric the Younger continued in his father's style, Aelbrecht developed his own unmistakable style with strong colors, rich texture and fine details. He died in Leuven. More on Aelbrecht Bouts

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01 Works, RELIGIOUS ART - CONTEMPORARY & 20th Century Interpretation of the Bible! With Footnotes - 22

Jean Béraud, (1849–1935)

St. Mary Magdalene in the House of Simon the Pharisee, c. 1891

Oil on canvas

Musée d'Orsay

The Parable of the Two Debtors: A Pharisee invited Jesus to eat, and Jesus went to his house. He was sitting at the table, when a woman of ill repute arrived with an alabaster jar full of perfume. Crying, she stood next to Jesus' feet and began to bathe them with his tears. Then she dried them with her hair, kissed them and poured the perfume on them. Seeing this, the Pharisee who had invited Jesus thought: "If this man were truly a prophet he would realize who and what kind of woman this sinner is touching him." 

Then Jesus said to the Pharisee: You see this woman? I went into your house and you did not give me water for my feet; instead, this woman has bathed my feet with tears and dried them with her hair. You did not kiss me, but she, since I entered, has not stopped kissing my feet. You did not spill oil on my head, but she has spilled perfume on my feet. This is why I tell you that her many sins are forgiven, because she loved so much; but the one to whom little is forgiven, little love manifests. Then he said to the woman: -Your sins are forgiven. More on The Parable of the Two Debtors

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,

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01 Works, RELIGIOUS ART - Interpretation the bible, Andrea Solari's Mary Magdalen, with Footnotes - 114

Andrea Solari,  (1460–1524)

Mary Magdalen, circa 1524

Oil on panel

DH: 29 3/4 x W: 23 5/16 x Approx. D: 1 in. (75.5 x 59.2 x 2.5 cm)

Walters Art Museum, Baltimore, Maryland

Mary Magdalene went to anoint Christ's dead body, only to discover that he was resurrected. She is shown here transferring the ointment from a maiolica pharmacy jar to a smaller vessel. 

According to Church, Mary Magdalene was a sinful woman, who upon meeting Christ repented her former ways. She was present at the Crucifixion and later went to anoint Christ's dead body, only to discover that he was resurrected. As in this painting, the Magdalene is often depicted as a great beauty with long golden hair. She is shown here transferring the ointment from a maiolica pharmacy jar to a smaller vessel. The artist has represented the Magdalene in a style influenced by the works of Leonardo da Vinci, particularly in the subtle "sfumato" technique that invisibly blends light and shade and make contours appear soft. 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 

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 and 365 Days, also visit my Boards on Pinterest

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01 Work, RELIGIOUS ART - Interpretation the bible, Andrea Solari's Ecce homo, with Footnotes - 113

French Follower of Andrea Solario, circa 1600

Ecce homo

Oil on oak panel

13 1/2  by 9 5/8  in.; 34.3 by 24.4 cm

Private collection

Ecce homo are the Latin words used by Pontius Pilate in the Vulgate translation of John 19:5, when he presents a scourged Jesus Christ, bound and crowned with thorns, to a hostile crowd shortly before his Crucifixion. The Douay-Rheims Bible translates the phrase into English as "Behold the man!" [John 19:5] The scene has been widely depicted in Christian art. More on Ecce homo

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 

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 and 365 Days, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.