Mythology: Fine Art

Showing posts with label Fine Art. Show all posts

01 Work, RELIGIOUS ART - Interpretation the bible, Northern Netherlands' Entombment of Christ, with Footnotes - #130

Northern Netherlands, first third 16th C.

The entombment of Christ

Oil on panel

31 x 23,5 cm

Private collection

Sold for € 10.200 in March 2023

The burial of Jesus refers to the burial of the body of Jesus after crucifixion, before the eve of the sabbath described in the New Testament. According to the canonical gospel accounts, he was placed in a tomb by a councillor of the sanhedrin named Joseph of Arimathea. In art, it is often called the Entombment of Christ.

The earliest reference to the burial of Jesus is in a letter of Paul. Writing to the Corinthians around the year 54 AD, he refers to the account he had received of the death and resurrection of Jesus

The four canonical gospels, written between 66 and 95, all conclude with an extended narrative of Jesus' arrest, trial, crucifixion, burial, and resurrection. All four state that, on the evening of the Crucifixion, Joseph of Arimathea asked Pilate for the body, and, after Pilate granted his request, he wrapped it in a linen cloth and laid it in a tomb. More on Burial of Jesus

Dutch and Flemish Renaissance painting represents the 16th-century response to Italian Renaissance art in the Low Countries. These artists, who span from the Antwerp Mannerists and Hieronymus Bosch at the start of the 16th century to the late Northern Mannerists such as Hendrik Goltzius and Joachim Wtewael at the end, drew on both the recent innovations of Italian painting and the local traditions of the Early Netherlandish artists. Antwerp was the most important artistic centre in the region. Many artists worked for European courts, including Bosch, whose fantastic painted images left a long legacy. Jan Mabuse, Maarten van Heemskerck and Frans Floris were all instrumental in adopting Italian models and incorporating them into their own artistic language. Pieter Brueghel the Elder, with Bosch the only artist from the period to remain widely familiar, may seem atypical, but in fact his many innovations drew on the fertile artistic scene in Antwerp. More on Northern Netherlands Art 16C

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01 Work , RELIGIOUS ART, Giovanni Bellini's Madonna and Child with Saints John the Baptist and Elizabeth - with footnotes #203

Giovanni Bellini

Madonna and Child, John the Baptist and Saint Elizabeth

Mixed technique on poplar

72.0 x 90.0 x 0.9 cm

Städel Museum

The Mother of God and the Christ Child are in the company of John the Baptist and his mother, Elizabeth. This devotional painting radiates quietude of a virtually sublime character. The pictorial type known as ‘sacra conversazione’ (sacred conversation) was extremely popular. Successful artists like Bellini produced several versions of it, combining figures based on standardised models. This explains why Elizabeth and John cannot see the Infant Jesus, but only Mary’s back. The painting undoubtedly owes its aura in good part to the brilliant blue produced from the precious lapis lazuli. More on this painting

Giovanni Bellini was born into a Venetian artist family as the illegitimate son of Jacopo Bellini. He doubtless received his training - as a panel painter, draughtsman and miniaturist - in his father's workshop. By 1459 Giovanni maintained his own household, and his first reliably documented work, which he signed along with his father and his brother Gentile, dates from the following year. This is the 'Pala Gattamalata' in S Antonio in Padua. Between the 1470s and 1516, the year of his death, continuous commissions in Venice are documented. After 1479 and the departure of his older brother Gentile for Constantinople, Giovanni was repeatedly engaged on important commissions from the Republic of Venice, which also named him the Serenissima's official painter in 1483. His high esteem is also confirmed by his membership in a number of the Venetian scuole. Beginning in the 1490s Giovanni Bellini was awarded increasing numbers of commissions from neighbouring princely families, notably from Isabella d'Este and Francesco Gonzaga. In a letter to Willibald Pirckheimer from 1506, Albrecht Dürer described Bellini as "very old ... but still the best in painting". In addition to altarpieces, paintings of the Madonna for private devotions and portraits make up a large part of Giovanni Bellini's oeuvre. Along with Antonello da Messina, he is of extraordinary importance in Venetian painting for his development of the 'sacra conversazione'. He shrewdly adapted to the swiftly changing expectations of the art market during his lifetime by using his workshop, in which Giorgione and Titian both worked for a time, for the virtual mass production of pictorial compositions which were reproduced in full or half figures. During his long career Bellini was equally skilful in adapting his art to the most varied influences: from his father, Jacopo, who still worked in the International Gothic style, to his brother-in-law Andrea Mantegna and even his pupils and followers Giorgione and Titian. More on Giovanni Bellini

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01 Work, Interpretation of the bible, Master of the Legend of Saint Lucy's Saint Margaret of Antioch, with Footnotes - part #223

Attributed to the Master of the Legend of Saint Lucy, circa 1435 - 1506/09 Bruges

Saint Margaret of Antioch and a kneeling donor figure in a Gothic church

Oil on panel, unframed

19⅝ by 9 in.; 49.8 by 22.9 cm.

Private collection

Estimated for 15,000 - 20,000 USD in October 2022

This panel once formed the right wing of a devotional triptych, and it is a recent addition to the corpus of the Master of the Legend of Saint Lucy. More on this work

St. Margaret of Antioch, also called St. Marina, (flourished 3rd or 4th century, Antioch, Syria), a virgin martyr, who was one of the most venerated saints during the Middle Ages. Her story, generally regarded to be fictitious, is substantially that of the Eastern St. Marina of Antioch, and is related to that of St. Pelagia of Antioch, who is also known as Margaret or Marina.

During the reign (284–305) of the Roman emperor Diocletian, Margaret allegedly refused marriage with the prefect Olybrius at Antioch and was consequently beheaded after undergoing extravagant trials and tortures. Her designation as patron saint of expectant mothers (particularly in difficult labour) and her emblem, a dragon, are based on one of her trials: Satan, disguised as a dragon, swallowed Margaret; his stomach, however, soon rejecting her, opened, and let her out unharmed. In 1969 Margaret’s feast day, formerly July 20, was eliminated in the revised calendar of the Roman Catholic Church because it is doubtful whether she ever existed. Nevertheless, during the medieval period she ranked among the most famous saints; her voice was among those attested to have been heard by St. Joan of Arc. More on St. Margaret of Antioch

Master of the Legend of Saint Lucy (fl. 1480–1510) was an unidentified Early Netherlandish painter from Bruges. His name comes from an altarpiece in the church of Saint James in Bruges, dated 1480, depicting three scenes from the life of Saint Lucy. Since then, twenty-five to thirty-five paintings have been attributed to the same hand. He may have trained Spanish students at his studio in Bruges. Many of his paintings are characterized by views of the city of Bruges in the background, and can be dated according to the level of construction of its belfry. He may have trained with Dieric Bouts, and was certainly influenced by Hans Memling.

He has been associated with the Bruges master Fransois vanden Pitte, active in Bruges between 1453 and 1456. More on Master of the Legend of Saint Lucy

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01 Work , RELIGIOUS ART, Daniele da Volterra's The Madonna of the Zodiac - with footnotes #202

Daniele Ricciarelli, called Daniele da Volterra, Volterra 1509 - 1566

The Madonna of the Zodiac

Red chalk

405 by 257 mm; 16 by 10 ⅛ in.

Private collection

Estimate for 100,000 - 150,000 USD in Jan 2023

On the present sheet the light falls strongly from the left, enhancing the voluminous and heavy draped cloth which, covering the Madonna's plaited hair, falls down behind her back to create two large folds to the side of her right hip. These, like waves, return to wrap her legs down to the feet, with several elegantly cascading folds, casting strong shadows to the right, clarifying form and volume as in a sculpture.

A Zodiac is visible behind the Madonna and Child, who stands on a globe while resting his left hand on a transversal cross. On the globe it is possible to discern the shape of the Italian peninsula. The Madonna, her head in profile to the right while talking to the Child, indicates with both hands towards the Zodiac, which alludes to Christ's role as ''chronocrator'': Lord of Cosmic Time. This subject is very seldom painted and its presence here must reflect the commission of a cultivated and refined patron particularly interested in astrology. The signs of Scorpio and Sagittarius can be easily detected to the left of the Madonna. Moreover she rests her right foot on a cloud over a crescent moon. The intriguing historical relationship between science and Christianity was perceived differently at different times, and not surprisingly was also often seen as a controversial combination in the context of the visual arts. More on this work

Mannerist painter and sculptor Daniele Ricciarelli da Volterra died on 4 April 1566 in Rome. Daniele initially trained with the Sienese painter Sodoma, and then with Baldassarre Peruzzi and Perin del Vaga in Rome. Here, Daniele befriended Michelangelo, whose influence marked his whole career. Their relationship drew much criticism on Daniele’s account, although it was not based on a passive imitation of Michelangelo’s style: Daniele indeed posed as the artist’s second self. Buonarroti helped him gaining prestigious commissions and provided him with drawings, which Daniele used as starting points for his own inventions, as in the case of the Orsini Chapel in Trinità dei Monti. The only known surviving part of the decoration is the altarpiece of the Deposition.

In 1547 Daniele succeeded Perino in the Sala Regia, but with Paul III’s death he lost the commission and the decoration was later completed by others. Daniele’s major works also include the Della Rovere chapel in Trinità dei Monti, the Massacre of the Innocents for the Church of Saint Peter in Volterra (now in Florence), and David Killing Goliath, a two-sided painting long attributed to Michelangelo. Upon the latter’s death (1564), Daniele was assigned the task to cover the nudities of the Last Judgment in the Sistine Chapel, earning the infamous nickname of Il Braghettone (“The Breeches Maker”).

In his late career Daniele devoted himself to sculpture, working on a bronze equestrian statue of Henry II of France (unfinished) and on a series of bronze busts of Michelangelo. More on Daniele Ricciarelli da Volterra

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01 Work, CONTEMPORARY Interpretation of the Bible! Rose Datoc Dall's First News of the Resurrection, with Footnotes - #53

Rose Datoc Dall

First News of the Resurrection

Oil on canvas

48x24

Church History Museum

The women disciples who went to the Savior's tomb that first Easter Sunday, to anoint His body with spices. They encountered an angel who told them that Jesus has risen. They were told to spread the news to the disciples. These women were the first bearers of news of the resurrection.

Filipina-American artist, Rose Datoc Dall was born in Washington, DC and raised in Northern Virginia. She received her BFA from Virginia Commonwealth University School of the Arts in 1990. Mrs. Dall's artwork is predominately a contemporary figurative painter. Roses figurative work is distinctive for her graphic compositions, her unconventional use of color and her linear graphic sensibility. Rose is also known for her body of religious artwork in addition to her figurative work.

Mrs. Dall has received several awards and honors for her work; most notably, she is a three-time Purchase Award Winner of the International Art Competition for the Church of Jesus Christ of Latter-day Saints (2019, 2015, 2009). Her works are in permanent collections at the Museum of Church History and Art in Salt Lake City, Brigham Young University, and Southern Virginia University. More on Rose Datoc Dall

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01 Work, RELIGIOUS ART, IGian Girolamo Bonesi's Madonna with Child and San Giovannino - with footnotes #207

Gian Girolamo Bonesi

Madonna with Child and San Giovannino

Oil on canvas

cm. 75x96

Private collection

Sold for €4,800 EUR in May 2023

Giovanni Girolamo Bonesi (1653–1725) was an Italian painter of the Baroque period.

He was born in Bologna. He was the pupil of the painter Giovanni Maria Viani, but followed the style of Carlo Cignani. He painted a St Francis of Sales kneeling before the Virgin for the church of San Marino; a St Thomas of Villanova giving Alms to the Poor for the church of San Biagio; and a Virgin and Infant Christ, with Mary Magdalene and St Hugo for the Certosa di Bologna. More on Giovanni Girolamo Bonesi

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01 Work, CONTEMPORARY Interpretation of the Bible! Gonzalo Bilbao Martinez's Procession of the Seven Words, with Footnotes - #53

Gonzalo Bilbao Martinez

Procession of the Seven Words, c. 1902

Oil on canvas

54 x 45 cm

Carmen Thyssen Museum Málaga

The "Procession of the Seven Words" refers to a religious event, a solemn procession that often takes place on Good Friday, where participants, particularly members of religious brotherhoods, reflect on and commemorate the seven last words of Jesus on the cross. The artwork depicts the entrance of the Brotherhood of the Seven Words into a cathedral, showcasing the event.

Then Jesus said, “Father, forgive them, they know not what they do.” Luke 23:34

In 1902, Alfonso XIII was proclaimed King of Spain. Joaquín Sorolla went to Seville to attend the coronation and also to take up Gonzalo Bilbao's invitation to paint the processional parades. Bilbao himself painted this scene of the entrance of the Brotherhood of the Seven Words into the metropolitan cathedral, just when the Seville brotherhoods were considering the creation of a new official processional route.

Like a press photographer, the painter took up a position facing the main procession. In the foreground stands the elder, staff in hand; behind him are several penitents who, like him, are wearing white robes and black shoes, some carrying candles and one the white flag; in the middle are youths with candlesticks, and an altar boy with a thurible. At the sides are women in mantillas and in the background, the float carries Roldán's crucified Christ (from which the brotherhood takes its name) and the 19th-century images of Our Lady of Remedies, St John and Mary Magdalene. More on this work

Gonzalo Bilbao Martínez (27 May 1860 – 4 December 1938) was a Spanish costumbrista painter and art professor.

He was born in Seville, the son of a well-to-do lawyer and the older brother of the sculptor, Joaquín Bilbao. With the encouragement of José Jiménez Aranda, he began drawing lessons at an early age. At his father's insistence, he studied law along with his art lessons.

In 1880, he completed his law degree, but never entered into practice; continuing his art lessons and devoting himself exclusively to painting. As it turned out, his father was pleased with the results and paid his expenses for travelling to France and Italy with Aranda. He remained in Italy for three years, establishing himself in Rome; travelling frequently to Naples and Venice, where he painted both urban and rural scenes.

He returned to Spain in 1884. His restless temperament made it difficult for him to become accustomed to life in Seville, so he moved constantly, painting landscapes and wasted little time planning new trips; visiting Algeria and Morocco. From there, it was back to Paris, where he sold his Moroccan paintings. His travels continued throughout Europe and America.

In 1893, he was appointed a member of the Academia de Bellas Artes and, in 1901, became President of the Athenaeum. In 1903, he succeeded Aranda as a Professor at the Real Academia de Bellas Artes de Santa Isabel de Hungría.

He is perhaps best known for a series of sketches and paintings depicting "cigarreras" (cigar makers), made during the 1910s at the Royal Tobacco Factory. During his later years, he received numerous awards, including the Order of Isabella the Catholic and the Order of Carlos III.

In 1935, he was elected a member of the Real Academia de Bellas Artes de San Fernando and moved to Madrid. He died in Madrid, aged 78, during the Spanish Civil War, while the city was under siege. After the war, his widow donated his remaining works to the Museo de Bellas Artes. More on Gonzalo Bilbao Martínez

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01 Work, RELIGIOUS ART, Carlo Francesco Nuvolone's Martyrdom of Saint Catherine - with footnotes #205

Carlo Francesco Nuvolone (1609-1662)

Martyrdom of Saint Catherine

Oil on canvas

cm. 97x75

Private collection

Sold for €10,000 EUR in November 2023

Saint Catherine of Alexandria is, according to tradition, a Christian saint and virgin, who was martyred in the early 4th century at the hands of the pagan emperor Maxentius. According to her hagiography, she was both a princess and a noted scholar, who became a Christian around the age of fourteen, and converted hundreds of people to Christianity. She was martyred around the age of 18. Over 1,100 years following her martyrdom, St. Joan of Arc identified Catherine as one of the Saints who appeared to her and counselled her.

The emperor condemned Catherine to death on a spiked breaking wheel, but, at her touch, it shattered. Maxentius ordered her to be beheaded. Catherine herself ordered the execution to commence. A milk-like substance rather than blood flowed from her neck.

The Eastern Orthodox Church venerates her as a Great Martyr, and celebrates her feast day on 24 or 25 November (depending on the local tradition). In the Catholic Church she is traditionally revered as one of the Fourteen Holy Helpers. In 1969 the Catholic Church removed her feast day from the General Roman Calendar; however, she continued to be commemorated in the Roman Martyrology on 25 November. More on Saint Catherine of Alexandria

Carlo Francesco Nuvolone (1608 or 1609 in Milan – 1661 or 1662 in Milan) was an Italian painter of religious subjects and portraits who was active mainly in Lombardy. He became the leading painter in Lombardy in the mid-17th century, producing works on canvas as well as frescoes.

After working with his father, Carlo Francesco studied at the Accademia Ambrosiana in Milan under Giovanni Battista Crespi (il Cerano). In that studio he would have encountered Daniele Crespi and Giulio Cesare Procaccini.

He later worked in Milan and its environs. During the 1650s, Nuvolone painted frescoes for the Cappella di San Michele in the Certosa di Pavia and contributed to the decorations of the sacro monte (hillside shrine) at Varese, an important local pilgrimage site. He later also painted frescos at the Sacro Monte di Orta. His brother occasionally assisted him with his fresco work.

Among his pupils were Giuseppe Zanata, Federigo Panza, Filippo Abbiati, and Pietro Maggi. More on Carlo Francesco Nuvolone

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02 Works , RELIGIOUS ART, Peter Paul Rubens and Jan Brueghel the Elder's The Garden of Eden with the Fall of Man - with footnotes #203

Peter Paul Rubens (1577–1640) and Jan Brueghel the Elder (1568–1625)

The Garden of Eden with the Fall of Man, circa 1615

Oil on panel

height: 74.3 cm (29.2 in); width: 114.7 cm (45.1 in)

Mauritshuis

The scene is a reference to Genesis 2:8–14 and hosts a variety of animals, presumably 100, from diverse ecosystems. There is a Capuchin Monkey from South America, hidden to the left, who bites into an apple to symbolize the sin about the be committed by Adam and Eve. Since Adam has yet to commit the original sin, these creatures all live in harmony – a cow peacefully watches while two large cats play. Birds of Paradise are also painted with a scientific accuracy. Up until the time of this painting, these birds were believed to lack feet, and in this painting, they are depicted clearly. This was a modernistic move on Bruegel’s behalf.

Peter Paul Rubens (1577–1640) and Jan Brueghel the Elder (1568–1625)

Detail; The Garden of Eden with the Fall of Man, circa 1615

Oil on panel

height: 74.3 cm (29.2 in); width: 114.7 cm (45.1 in)

Mauritshuis

The monkey next to Adam is the hotspur who cannot resist temptation, while the choleric cat near Eve's heels represents cruel cunning In Christian symbolism, several grapes in the foliage behind Adam and Eve represent Christ's death on the cross, as wine represents his blood. A plethora of exotic birds such as peacocks and macaws spectate Adam's detrimental demise.

Sir Peter Paul Rubens (28 June 1577 – 30 May 1640) was a Flemish Baroque painter. A proponent of an extravagant Baroque style that emphasized movement, colour, and sensuality, Rubens is well known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.

In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically educated humanist scholar and diplomat who was knighted by both Philip IV of Spain and Charles I of England. More Sir Peter Paul Rubens

Jan Brueghel (also Bruegel or Breughel) the Elder (1568 – 13 January 1625) was a Flemish painter and draughtsman. He was the son of the eminent Flemish Renaissance painter Pieter Bruegel the Elder. A close friend and frequent collaborator with Peter Paul Rubens, the two artists were the leading Flemish painters in the first three decades of the 17th century.

Brueghel worked in many genres including history paintings, flower still lifes, allegorical and mythological scenes, landscapes and seascapes, hunting pieces, village scenes, battle scenes and scenes of hellfire and the underworld. Brueghel represented the type of the pictor doctus, the erudite painter whose works are informed by the religious motifs and aspirations of the Catholic Counter-Reformation as well as the scientific revolution with its interest in accurate description and classification.

The artist was nicknamed "Velvet" Brueghel, "Flower" Brueghel, and "Paradise" Brueghel. The first is believed to have been given him because of his mastery in the rendering of fabrics.[7] The second nickname is a reference to his fame as a painter of (although not a specialist in) flower pieces and the last one to his invention of the genre of the paradise landscape. His brother Pieter Brueghel the Younger was traditionally nicknamed "de helse Brueghel" or "Hell Brueghel" because it was believed he was the author of a number of paintings with fantastic depictions of fire and grotesque imagery. These paintings have now been reattributed to Jan Brueghel the Elder. More on Jan Brueghel

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01 Work, RELIGIOUS ART, Juan De Flandes' Deposition from the Cross - with footnotes #206

Juan De Flandes (Spain 1460-1519 attributed)

Deposition from the Cross

Oil on canvas

cm. 56x70

Private collection

Estimated for €2,500.00 in Feb 2023

The Descent from the Cross, or Deposition of Christ, is the scene, as depicted in art, from the Gospels' accounts of Joseph of Arimathea and Nicodemus taking Christ down from the cross after his crucifixion. In Byzantine art the topic became popular in the 9th century, and in the West from the 10th century. The Descent from the Cross is the 13th Station of the Cross.

Other figures not mentioned in the Gospels who are often included in depictions of this subject include St. John the Evangelist, who is sometimes depicted supporting a fainting Mary, and Mary Magdalene. The Gospels mention an undefined number of women as watching the crucifixion, including the Three Marys and Mary Salome. More on Deposition of Christ

Juan de Flandes ("John of Flanders"; c. 1460 – by 1519) was an Early Netherlandish painter who was active in Spain from 1496 to 1519; his actual name is unknown, although an inscription Juan Astrat on the back of one work suggests a name such as "Jan van der Straat". Jan Sallaert, who became a master in Ghent in 1480, has also been suggested.

He was born around 1460 in Flanders (modern Belgium). He evidently trained in his home country, most likely in Ghent, as his work shows similarities to other Ghent artists. He is only documented after he became an artist at the court of Queen Isabella I of Castile, where he is first mentioned in the accounts in 1496. He is described as "court painter" by 1498 and continued in the queen's service until her death in 1504. He mostly painted portraits of the royal family, but also the majority of a large series of small panels for a polyptych altarpiece for the queen. The panels have been dispersed and the largest number of panels is in the royal collection in Madrid.

After Isabella's death in 1504 Juan de Flandes turned to ecclesiastical commissions from Spanish churches, beginning in Salamanca in 1505–7. He was later based in Palencia, where there is a large reredos in the Cathedral. The overwhelming majority of his work, held in collections outside Spain, date from this later period during which he concentrated on religious themes.

His works show the Early Netherlandish style of Ghent adapted to the Spanish taste and landscape, notably the requirements for groups of compartmented scenes for altarpieces. His colouring is refined, "with a preference for rather acid hues", and "while his feeling for space and light is sophisticated, a tendency to divide space into a succession of thin planes becomes a mannerism in his late works". More on Juan de Flandes

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01 Work , RELIGIOUS ART, Alphonse Legros' Femmes en Prière/ Women at prayer - with footnotes #201

Alphonse Legros 1837–1911

Femmes en / Women at prier, c. 1888

Oil paint on canvas

Support: 1335 × 1770 mm

Tate

This work portrays a group of mainly young women, seated or kneeling to pray, in a dimly lit austere French church. The women are all dressed in black with primarily white caps. One cannot conceive anything more gently touching than this grand and pensive scheme, where all is on the same lofty level – sentiment, form and execution. More on this painting

Alphonse Legros, (b Dijon, 8 May 1837; d Watford, 8 Dec. 1911). French-born painter and printmaker who settled in England in 1863 (encouraged by Whistler) and became a British citizen in 1881, although he never acquired fluency in English. His chief importance was as an influential teacher (particularly of etching) at the Slade School, where he was professor 1876–92 in succession to Poynter. He encouraged a respect for the tradition of the Old Masters. More on Alphonse Legros

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