Showing posts with label Figurative. Show all posts
Showing posts with label Figurative. Show all posts

01 Work, Interpretation of the bible, The Art of War, Juan Correa de Vivar's The Taking of Christ, with Footnotes #196

Juan Correa de Vivar, Mascaraque circa 1510 - 1566 Toledo
The Arrest Of Christ
Oil on pine panel
121 by 91.2 cm.; 47⅝ by 36 in.
Private collection

A detachment of Roman soldiers and its commander, were accompanied by "officials from the chief priests and Pharisees" who had been sent to arrest Jesus.

Due to the throngs of people in Jerusalem during Passover, the Romans transferred auxiliary troops to the Fortress of Antonia. They were there to prevent mob riots and incipient rebellion at the volatile festival. Apparently, the Romans had been asked to send some soldiers to assist in this arrest to insure overwhelming odds. Starting a riot or a fight with Jesus' disciples wouldn't have served the chief priests' purposes. But, even though Roman soldiers were present, the arrest was clearly made by the chief priests' officers, since Jesus was taken to the high priest's residence (19:12), not a Roman facility. More on The Arrest Of Christ

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.

Juan was heavily influenced by Raphael. One of his most important works was the altarpiece of the church of Almonacid de Zorita. It was destroyed in World War II. 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. The Museo del Prado of Madrid also includes many excellent examples of his work.

Some of the work came to him through familiar contacts. 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.

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




Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artists365 Saints365 Days, and Biblical Icons, also visit my Boards on Pinterest and deviantart

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11 Works, RELIGIOUS ART - CONTEMPORARY & 20th Century Interpretation of the Bible! Vincent Serbin's Toward Omega, with Footnotes - 24

Vincent Serbin
Detail; A Meditation on a Number 10
Gelatin silver print
14 x 11 inches

In 1990 or so, Steven Albahari, 21st Editions' publisher, decided to purchase his very first photograph. It happened to be by Vincent Serbin, who 13 years later, he ended up crossing paths with again and decided to publish, provided that he was able to make all of the prints for the project. He did. John Wood, 21st Editions' editor, paired Vincent's photographs with the brilliance of Daniel Westover (poet, professor and literary critic) who constructed a poem for each image, which is a difficult task indeed. 

Vincent Serbin
A Meditation on a Number 10
Gelatin silver print
14 x 11 inches
Private collection

Omega is the last letter of the Greek alphabet, and has come to signify an "ending" of sorts - a finality. Vincent Serbin has used it here to describe his metaphysical meditations of the nature of time as it relates to our existence and ability to function in the present moment, a confluence of past and future. 

Vincent Serbin
Antagonistic Forms
Gelatin silver print
14 x 11 inches
Private collection

Heading Toward Omega breaks new ground in the field of near-death studies by focusing on the meaning of the near-death experience (NDE) for the survivor and for human evolution. Dr. Kenneth Ring's intensive three-year study of more than one hundred experiencers found that NDEs cause a provocative pattern of very positive changes in outlook, values, and behavior -- and are often powerful catalysts for spiritual awakening and psychic development. Moreover, deep NDEs frequently include strikingly similar visions of our planetary future. The depth and consistency of these life transformations -- as well as the apparent widespread and increasing incidence of NDEs -- lead Dr. Ring to a startling conclusion: Near-death experiences may be part of an evolutionary thrust toward higher consciousness for all humanity. Thus they may foreshadow the birth of a new planetary consciousness as we head toward Omega, the final goal of human evolution. More on Heading Toward Omega

Vincent Serbin
Gelatin silver print
14 x 11 inches
Private collection

Vincent Serbin
Gelatin silver print
14 x 11 inches
Private collection

Vincent Serbin
The Essence of Nature
Gelatin silver print
14 x 11 inches
Private collection

Vincent Serbin
Earth Angel
Gelatin silver print
14 x 11 inches
Private collection

Vincent Serbin
Gelatin silver print
14 x 11 inches
Private collection

Vincent Serbin uses drawing, set construction, multiple-image printing and “negative collages” to create his dense works, which cover a multitude of subjects.

Vincent Serbin
Nieve Grace
Gelatin silver print
14 x 11 inches
Private collection

In constructing his collages, Serbin combines upwards of three or four negatives, cutting or tearing out selected image areas from each negative and taping them together to create a single master negative. Serbin also incorporates words, graffiti-like doodles and outlines etched into the emulsion or marked on the surface of the negative.

Vincent Serbin
The Beautiful Illusion
Gelatin silver print
14 x 11 inches
Private collection

Although Serbin describes his darkroom procedures as fairly straightforward and conventional, he has developed some highly refined toning techniques that combine selective applications of selenium, sepia toner, and bleach to create what he describes as a “speckled effect.”

Vincent Serbin
The Power of Imagination
Gelatin silver print
14 x 11 inches
Private collection

Serbin noticed piles of expired photo paper collecting in his studio. It occured to him that it might be well-suited for painting. He experimented and in fact discovered that several layers of gesso resulted in supremely durable and archival paper on which to paint. 

Vincent Serbin
Untitled
Photogravure, Hand-pulled
14 x 11 inches
Private collection

Vincent Serbin, who was awarded a New York Foundation for the Arts fellowship grant in 2000, boasts an impressive resume of exhibitions spanning more than a quarter of a century. More on Vincent Serbin


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01 Work, CONTEMPORARY Interpretation of the Bible! Kasia Derwinska's Prayer, with Footnotes - #51

Kasia Derwinska, Spain
Prayer
Digital, Black & White, Manipulated, New Media, Paint on Paper
15.7 W x 15.7 H x 0 in

I talk to God but the sky is empty. Sylvia Plath

Sylvia Plath October 27, 1932 – February 11, 1963) was an American poet, novelist, and short-story writer. Plath was clinically depressed for most of her adult life, and was treated multiple times with electroconvulsive therapy. She died by suicide in 1963.  More on Sylvia Plath

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




Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artists365 Saints and 365 Days, also visit my Boards on Pinterest

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01 Work, RELIGIOUS ART - Interpretation the bible, Lidia Wylangowska's Bohemian Angel, with Footnotes - #129

Lidia Wylangowska, United States
Bohemian Angel
Original Oil Painting
108 W x 80 H x 1.5 in

An angel is generally a supernatural being found in various religions and mythologies. In Abrahamic religions and Zoroastrianism, angels are often depicted as benevolent celestial beings who act as intermediaries between God or Heaven and Humanity. Other roles of angels include protecting and guiding human beings, and carrying out God's tasks. More on Angels

Lidia Wylangowska: "My art tells my story. It's a story of my world, of my thoughts and emotions entwined in an internal dialogue. And some of it can be expressed only through painting. It is incredible, how fairy-tales I heard once-upon-a-time, in my childhood actually influenced my life and defined who I am. 

The technique I use in my works is changing and evolving as I do. There is a lot my very own inventions in it but the very base comes from Renaissance Masters. Masaccio, Leonardo da Vinci , Raphael are commonly considered to have pioneered the use of chiaroscuro to create the illusion of relief - notably in the modelling of the human body. Chiaroscuro modeling is supporting the effect of color. In order to use the under painting efficiently, I put the color transparently. The transparent layer of paint spread over the top of an opaque passage that has been given some time to dry. Light travels through the glaze and is reflected back off of the opaque layer below. The light in the painting constructed this way lit the color from the bottom. More on Lidia Wylangowska





Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artists365 Saints and 365 Days, also visit my Boards on Pinterest

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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.

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01 Work, RELIGIOUS ART - Interpretation the bible, Henri Fantin-Latour's Stabat Mater, with Footnotes - 128

Henri Fantin-Latour, (French, 1836-1904)
Stabat Mater, c. 1896
Oil on canvas
18 ¾ x 26 ½ in. (47.6 x 67.3 cm.)
Private collection

The Stabat Mater is a 13th-century Christian hymn to Mary, which portrays her suffering as Jesus Christ's mother during his crucifixion. Its author may be either the Franciscan friar Jacopone da Todi or Pope Innocent III. The title comes from its first line, "Stabat Mater dolorosa", which means "the sorrowful mother was standing".

The hymn is sung at the liturgy on the memorial of Our Lady of Sorrows. The Stabat Mater has been set to music by many Western composers. More on Stabat Mater


Henri Fantin-Latour (14 January 1836 – 25 August 1904) was a French painter and lithographer best known for his flower paintings and group portraits of Parisian artists and writers.  He was born Ignace Henri Jean Théodore Fantin-Latour in Grenoble, Isère. As a youth, he received drawing lessons from his father, who was an artist. In 1850 he entered the Ecole de Dessin. After studying at the École des Beaux-Arts in Paris from 1854, he devoted much time to copying the works of the old masters in the Musée du Louvre. Although Fantin-Latour befriended several of the young artists who would later be associated with Impressionism, including Whistler and Manet, Fantin's own work remained conservative in style.

Whistler brought attention to Fantin in England, where his still-lifes sold so well that they were "practically unknown in France during his lifetime". In addition to his realistic paintings, Fantin-Latour created imaginative lithographs inspired by the music of some of the great classical composers.

In 1875, Henri Fantin-Latour married a fellow painter, Victoria Dubourg, after which he spent his summers on the country estate of his wife's family at Buré, Orne in Lower Normandy, where he died on 25 August 1904. More on Henri Fantin-Latour 






Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artists365 Saints and 365 Days, also visit my Boards on Pinterest

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01 Work, CONTEMPORARY Interpretation of the Bible! Joel-Peter Witkin's Ars Moriendi, with Footnotes - 50

Joel-Peter Witkin, (American, 1939-)
Detail; Ars Moriendi, c. 2007
Tirage argentique
66 x 71 cm
Private collection

Joel-Peter Witkin, (American, 1939-)
Ars Moriendi, c. 2007
Tirage argentique
66 x 71 cm
Private collection

Joel-Peter Witkin is known for his grotesquely beautiful photographs that explore themes of death, religion, and the experience of being socially outcast. Witkin stages surrealistic scenes with cadavers, skeletons, and dismembered body parts so they recall Classical paintings and religious imagery. More on this work

The Ars moriendi ("The Art of Dying") are two related Latin texts dating from about 1415 and 1450 which offer advice on the protocols and procedures of a good death, explaining how to "die well" according to Christian precepts of the late Middle Ages. It was very popular, and was the first in a western literary tradition of guides to death and dying.

There was originally a "long version" and a later "short version" containing eleven woodcut pictures as instructive images which could be easily explained and memorized. More on Ars moriendi

Joel-Peter Witkin (born September 13, 1939) is an American photographer. His work often deals with such themes as death, corpses, and various outsiders such as dwarves, transsexuals, intersex persons, and physically deformed people. Witkin's complex tableaux often recall religious episodes or classical paintings.

Witkin's parents divorced when he was young. In 1961 Witkin enlisted in the United States Army with the intention of capturing war photography during the Vietnam war. However, Witkin never saw combat in Vietnam and spent his military time at Fort Hood, Texas, and was mostly in charge of Public Information and classified photos. In 1967, he became the official photographer for City Walls Inc. He attended Cooper Union in New York, where he studied sculpture, attaining a Bachelor of Arts degree in 1974. Columbia University granted him a scholarship for graduate school, but his Master of Fine Arts degree is from the University of New Mexico in Albuquerque  More Joel-Peter Witkin




Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artists365 Saints and 365 Days, also visit my Boards on Pinterest

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01 Work, CONTEMPORARY Interpretation of the Bible! Jean Jansem's Lot and his two daughters, with Footnotes - 44

Jean Jansem, (1920-2013)
Loth et ses filles/ Lot and his two daughters, c. 1999
Oil on canvas
51 3/16 x 63 3/4 in
Private collection

Lot and his two daughters, Genesis 19:30-38,  left Zoar and settled in the mountains, for he was afraid to stay in Zoar. He and his two daughters lived in a cave. 31 One day the older daughter said to the younger, “Our father is old, and there is no man around here to give us children—as is the custom all over the earth. 32 Let’s get our father to drink wine and then sleep with him and preserve our family line through our father.”

That night they got their father to drink wine, and the older daughter went in and slept with him. He was not aware of it when she lay down or when she got up.

The next day the older daughter said to the younger, “Last night I slept with my father. Let’s get him to drink wine again tonight, and you go in and sleep with him so we can preserve our family line through our father.” So they got their father to drink wine that night also, and the younger daughter went in and slept with him. Again he was not aware of it when she lay down or when she got up.

So both of Lot’s daughters became pregnant by their father. The older daughter had a son, and she named him Moab; he is the father of the Moabites of today. The younger daughter also had a son, and she named him Ben-Ammi; he is the father of the Ammonites of today. More Lot and his two daughters

Hovhannes "Jean" Semerdjian (9 March 1920 – 27 August 2013), also known as Jean Jansem, was a French-Armenian painter. Jansem's artworks are internationally known, and are part of museum collections throughout France, Japan and the United States. A Foreign member of the National Academy of Sciences of Armenia (2002).
He was awarded the Ordre des Arts et des Lettres in 1953 and by the Knight of the French Legion of Honour in 2003. The President of Armenia awarded Jansem a Medal of Honor for his “reinforcement of Armenian-French cultural ties.” 
Hovhannes Semerdjian was born in 1920 in Bursa, Turkey. In 1922, his family fled to Greece. He spent his childhood in Thessaloniki. They arrived to Issy-les-Moulineaux suburb of Paris, France in 1931 when he was 11 and that is when he begin to paint. The first professional schools for Jansem became free academies of Montparnasse (1934-1936). He studied in the Ecole des Arts Decoratifs. Jansem also studied at the Sabatie studio for a year. Early paintings by Jansem were mainly to national issues. He had individual exhibitions in Paris, New York, Chicago, London, Tokyo, Rome, Brussels, Lausanne, Beirut etc. Hovhannes Semerdjian was elected the President of the Young Artists' Saloon in 1956.
Jansem’s primary sources of inspiration were Goya and Brueghel. His mother and his children were the main heroes in his earlier works. Jansem was characterized as a miserablist, an artist of unfortunate people.
Jansem died on 27 August 2013, aged 93, outside Paris. More on Jean Jansem



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01 Work, CONTEMPORARY Interpretation of the Bible! Adriana Varejão's Cristo, with Footnotes - #52

Adriana Varejão (Brazilian b. 1964)
Cristo, c. 1988
Oil on canvas
70 ⅞ x 86 ⅝ in. (180 x 220 cm.)
Private collection

Crucifixion is a historical method of capital punishment in which the victim is tied or nailed to a large wooden beam and left to hang for several days until eventual death from exhaustion and asphyxiation. It is principally known from classical antiquity, but remains in occasional use in some countries. 

The crucifixion of Jesus is a central narrative in Christianity, and the cross (sometimes depicting Jesus nailed onto it) is the main religious symbol for many Christian churches. More Crucifixion

Adriana Varejão was born in Rio de Janeiro in 1964. Her paintings, sculptures, installations, and photographs engage with the complex and violent artistic and political history of Brazil. She appropriates stylistic traditions introduced to Brazil as part of the colonial encounter. In her early series Baroque Varejão explores the ornate style that arrived with the conquistadors. In the series Terra Incognita she utilized the Dutch, Portuguese, and Chinese pictorial traditions imported in the seventeenth century. With her series Proposal for a Catechesis Varejão began to incorporate the decorative terracotta tiles. Here the vulnerable skin of the canvas and tile are spliced open to reveal the corporeal violence lying beneath the smooth illusionism of the painted surface and, symbolically, the historical narratives. Varejão's paintings became increasingly sculptural, introducing elements that extended beyond the canvas, and she soon transitioned to sculpture and installation. By the time the artist initiated the series Jerked-beef Ruins, European tiles gave way to more universal pale blue or white tiles. More on Adriana Varejão





Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artists365 Saints and 365 Days, also visit my Boards on Pinterest

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01 Work, CONTEMPORARY Interpretation of the Bible! Georges Rouault's CRUCIFIXION, with Footnotes - #49

Georges Rouault (French, 1871–1958)
CRUCIFIXION, circa 1935-40
Oil and gouache on paper laid down on paper mounted on canvas 
41¾ by 29½ in. (106 by 75 cm.)
Private collection

Much of Rouault's work remained indebted to his apprenticeship with glaziers as a teenager. The artist retained an enduring passion for this craft, and the juxtaposition of the vibrant greens, yellows and reds and the use of heavy contours resembling lead tracery reflect his early training. Rouault returns to the craft with the present work, a design for a stained-glass window executed by Jean Herbert-Stevens in 1939. More on this work

Georges Rouault, (French, 1871–1958), was a French artist whose work melded Fauvism and Expressionism with its jewel-like tones and bold graphic lines. Alongside Henri Matisse, André Derain, Rouault culled from his spiritual fervor and knowledge of medieval stained glass to produce resonating portraits, landscapes, religious scenes, and still lifes. In one of his hallmark works The Old King (1916-1936), the painter poetically explores the power of symbolism and primary colors. “For me, painting is a way to forget life. It is a cry in the night, a strangled laugh,” he once reflected. Born on May 27, 1871 in Paris, France, he apprenticed with a stain glass artisan while studying at the École des Arts Décoratifs, he later studied at the École des Beaux-Arts under the famed Symbolist painter Gustave Moreau, who became an influential mentor. Between 1895 and 1898, the artist became a devout Roman Catholic as well as going through an emotional breakdown. He came out of this revitalized, moralistic and religious, Rouault displayed an interest in the flaws of society and began frequenting Parisian courts of law to find subjects to paint. Throughout the remainder of his career, much of his work was devoted to the depiction of prostitutes, clowns, and Christ. Rouault died on February 13, 1958 in Paris, France at the age of 86. Today, his works are held in the collections of the Carnegie Museum of Art in Pittsburgh, the Musée d’Orsay in Paris, the Hermitage Museum in St. Petersburg, and the Tate Gallery in London, among others. More on Georges Rouault




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01 Work, Interpretation of the bible, Gabriel von Max's The Christian Martyr, with Footnotes - #195

Gabriel von Max
The Christian Martyr, c. 1867
Oil on paper affixed to canvas
48 × 36 3/4 in, 121.9 × 93.3 cm
Private collection

A martyr is a person who was killed because of their testimony of Jesus and God. In years of the early church, this often occurred through death by sawing, stoning, crucifixion, burning at the stake or other forms of torture and capital punishment. 

At first, the term applied to Apostles. Once Christians started to undergo persecution, the term came to be applied to those who suffered hardships for their faith. Finally, it was restricted to those who had been killed for their faith. The early Christian period before Constantine I was the "Age of martyrs". "Early Christians venerated martyrs as powerful intercessors, and their utterances were treasured as inspired by the Holy Spirit."

In western Christian art, martyrs are often shown holding a palm frond as an attribute, representing the victory of spirit over flesh, and it was widely believed that a picture of a palm on a tomb meant that a martyr was buried there. More on A martyrs

Gabriel Cornelius Ritter von Max (ennobled in 1900; 23 August 1840 – 24 November 1915) was a Prague-born Austrian painter, the son of the sculptor Josef Max and Anna Schumann. He studied at the Prague Academy of Arts. His studies included parapsychology, Darwinism, Asiatic philosophy, the ideas of Schopenhauer, and various mystical traditions. He continued his studies at the Viennese Academy of Art. From 1863 to 1867 he studied at the Munich Academy. His first critical success was in 1867 with the painting "Martyr at the Cross": that painting transformed the "Unglücksmalerei" (dark palette) of Piloty into a religious-mystical symbolism using a psychological rendering of its subject.

He continued to use the dark palette of the Piloty school well into the 1870s, later moving toward a more muted palette, using fewer, clearer colors. From 1869, Gabriel von Max had his studio in Munich. From 1879-1883, Gabriel Max was a professor of Historical Painting at the Munich Academy; he also became a Fellow of The Theosophical Society. In 1900 he was ennobled and became a Ritter. He died in Munich in 1915. More Gabriel von Max



Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artists365 Saints and 365 Days, also visit my Boards on Pinterest

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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.

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