Mythology: RELIGIOUS

Showing posts with label RELIGIOUS. Show all posts

11 Works, Contemporary Interpretation of the Biblel by Roberto Pascal Dugourd, Graham Sutherland... Footnotes - #6

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01 Painting, Religious Art, Francesco Guarino's Saint Anthony Abbot and the Centaur, with footnotes # 51

Francesco Guarino

Saint Anthony Abbot and the Centaur, c. 1642

Oil on canvas

17 1/2 by 26 in.; 44.5 by 66 cm.

Private collection

Sold for 40.625 USD in Jan 2011

The life of St Anthony Abbot was popularised during the thirteenth century by Jacopo da Voragine's Golden Legend. Towards the end of his life, while on his way to visit St Paul the Hermit, who lived in the wilderness, St Anthony met a centaur who showed him the path to take. It is curious to see a religious scene interrupted by an element from Greek mythology. More on this painting

Anthony the Great c. 12 January 251 – 17 January 356), was a Christian monk from Egypt, revered since his death as a saint. He is distinguished from other saints named Anthony, such as Anthony of Padua, by various epithets: Anthony of Egypt, Anthony the Abbot, Anthony of the Desert, Anthony the Anchorite, Anthony the Hermit, and Anthony of Thebes. For his importance among the Desert Fathers and to all later Christian monasticism, he is also known as the Father of All Monks. His feast day is celebrated on 17 January among the Orthodox and Catholic churches and on Tobi 22 in the Coptic calendar. More on Anthony the Great

Francesco Guarino or Guarini (1611-1651 or 1654) was an Italian painter of the Baroque period, active mainly in the mountainous area east of Naples. He was born in Sant'Andrea Apostolo, today a frazione of Solofra in the Province of Avellino, Campania, and died in Gravina di Puglia. He was a pupil first locally of his father, Giovanni Tommaso Guarino, before moving to Naples to work in the studio of Massimo Stanzione. In Naples, like many of his contemporaries there, he was influenced by the style of Caravaggio. In his selection of models who appear to have been plucked from the streets of Naples, he recalls the style of Bernardo Cavallino, the fellow-pupil of Stanzioni. Among his masterpieces are the works for the Collegiata di San Michele Arcangelo in Solofra. More on Francesco Guarino

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01 Work, CONTEMPORARY Interpretation of the Bible! Bettina Rheims's Nouvelle Eve/New Eve, With Footnotes - #43

Bettina Rheims

Nouvelle Eve/New Eve, c. 1997

Vintage C-print

9.4 x 7.5 in. / cm 24 x 19,2

Private collection

Eve is a figure in the Book of Genesis in the Hebrew Bible. According to the creation myth of the Abrahamic religions, she was the first woman. In Islamic tradition, Eve is known as Adam's wife and the first woman although she is not specifically named in the Quran.

According to the second chapter of Genesis, Eve was created by God by taking her from the rib of Adam, to be Adam's companion. She succumbs to the serpent's temptation to eat the forbidden fruit from the tree of the knowledge of good and evil. She shares the fruit with Adam, and as a result the first humans are expelled from the Garden of Eden. Christian churches differ on how they view both Adam and Eve's disobedience to God, and to the consequences that those actions had on the rest of humanity. Christian and Jewish teachings sometimes hold Adam and Eve to a different level of responsibility for the fall, although Islamic teaching holds both equally responsible. More on Eve

Bettina (Caroline Germaine) Rheims is a French photographer born in Neuilly-sur-Seine on 18 December 1952. Bettina's photographic career began in 1978, when she took a series of photos of a group of strip-tease artists and acrobats, which would lead to her first exhibitions. This work would unveil Bettina Rheims’ favourite subject, the female model, to which she would frequently return during her career.

At the beginning of the 1990s, Bettina Rheims worked on one of her major series, entitled Chambre Close (1990-1992). This was her first in colour and marked the start of her collaboration with the novelist Serge Bramly, in a work which saw her photographs coupled with the writer’s fiction.

In 1995, the Presidency of the French Republic commissioned Bettina Rheims to take the official portrait of Jacques Chirac.

The 1999 publication of the book I.N.R.I. and its eponymous exhibitio, once again united the gaze of Bettina Rheims with the prose of Serge Bramly. I.N.R.I. builds a philosophical dialogue on the history of the crucifixion through photographs of scenes of the life of Christ. In France, the publication of this work was highly controversial.

In 2002, Bettina Rheims created a series on Shanghai during two long stays in the city. In 2005, at the Galerie De Noirmont, Bettina exhibited Héroïnes, a work that was primarily a homage to sculpture.

At the end of the 2000s, Bettina worked with Serge Bramly again and exhibited Rose, c’est Paris in 2010 at the National Library of France. The photographic tale was again built on a thread of fiction that Bettina Rheims and Serge Bramly created from autobiographical elements. More on Bettina Rheims

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01 Work, Interpretation of the bible, Giuseppe Bonito's Immaculate Conception, with Footnotes - #202

Giuseppe Bonito, 1707 - 1789,

The Immaculate Conception

Oil on canvas

110.6 x 76.1 cm.; 43½ x 30 in.

Private collection

Sold for 15,240 GBP in May 2023

In Catholic teaching, the Immaculate Conception refers to Mary, the mother of Jesus. Because she was the vessel that would bear the Son of God, she had to be without sin. Her conception was "immaculate" in the sense that her soul never had the stain of original sin that everyone else is born with.

The term does not refer to the conception or birth of Jesus. That is a misunderstanding you might come across in popular culture. More on the immaculate conception

Giuseppe Bonito (b. 1707, Castellamare di Stabia, d. 1789, Napoli) was an Italian painter. A student of Francesco Solimena, Bonito became one of the most influential artists of the Neapolitan school in the 18th century. Throughout his career, but most notably during the latter part of the century when Rome was the arbiter of Neo-classicism, his style remained firmly within the rich painterly traditions of Naples. His earliest works, for example the Archangel Raphael and Tobias (1730; Santa Maria Maggiore, Naples), show an assimilation of elements derived from late Baroque artists working in Naples and a hesitant affinity to the tenebrism of Solimena. In other pictures of sacred subjects from c. 1730 onwards, however, he developed a personal neo-Baroque style characterized by sweeping movement, bold chiaroscuro and a saturated palette reminiscent of both Solimena and Luca Giordano. Paintings in this style, such as St Vincent Ferrer (1737; San Domenico, Barletta), St Lazarus (early 1740s; San Ciro, Portici) and Charity (1742; Palazzo Monte di Pietà, Naples), show that Bonito's maturity was also characterized by delicacy and grace. More on Giuseppe Bonito

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01 Work, Interpretation of the bible, Bartolomé Estebán Murillo's Virgin and Child with Saint John, with Footnotes #214

Bartolomé Estebán Murillo

The Virgin and Child with the infant Saint John the Baptist

Oil on canvas

174.6 by 109 cm.; 68 3/4 by 42 7/8 in

Private collection

Sold for 269,000 GBP in April 2015

Murillo’s many depictions of the Virgin and Child were enormously successful: he endowed a conventional Catholic subject with newfound intimacy through soft modeling and naturalistic details. Like Zurbarán and Velázquez, Murillo was trained in Seville, where he spent his whole career. More on this painting

Bartolomé Esteban Murillo (born late December 1617, baptized January 1, 1618 – April 3, 1682) was a Spanish Baroque painter. Although he is best known for his religious works, Murillo also produced a considerable number of paintings of contemporary women and children. These lively, realist portraits of flower girls, street urchins, and beggars constitute an extensive and appealing record of the everyday life of his times. More on Bartolomé Esteban Murillo

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02 Works, Interpretation of the bible, St. Blandina in the Amphitheater of Lyon, by Emilio Magistretti and Jules-Antoine Duvaux, with Footnotes #213

Emilio Magistretti (1851-1935)

Martyrdom of Saint Blandina of Lyon, c. about 1900

Oil on canvas

319x169 cm. (Inv. 705).

Milan, Pinacoteca Ambrosiana

Emilio Magistretti (1851 in Milan – 1936) was an Italian painter.

Magistretti studied at the Brera Academy of Fine Arts from 1871 to 1875 under the guidance of Francesco Hayez and then accompanied him on his Italian journey of 1879. He worked initially in a range of different areas, from genre scenes to religious subjects and perspective painting, and successfully tried his hand at painting portraits, animals and landscapes at the turn of the century. He began to establish his reputation as an artist in 1880, when he was awarded a prize by the Ministry of Education, and became well known as a painter of moderately naturalistic portraits particularly appreciated by the middle-class establishment. An autobiography richly illustrated with reproductions of his most celebrated works was published in 1926. More on Emilio Magistretti

Saint Blandina (French: Blandine, died 177 AD) was a Christian during the reign of Emperor Marcus Aurelius. She belonged to the band of martyrs of Lyon who, after some of their number had endured frightful tortures, suffered martyrdom in 177 AD

While the imperial legate was away, the chiliarch, a military commander, and the duumvir, a civil magistrate, threw a number of Christians, who confessed their faith, into prison. When the legate returned, the imprisoned believers were brought to trial. Among these Christians was Blandina, a slave, who had been taken into custody along with her master, also a Christian. But although the legate caused her to be tortured in a horrible manner, so that even the executioners became exhausted "as they did not know what more they could do to her", still she remained faithful and repeated to every question "I am a Christian, and we commit no wrongdoing.

Blandina was subjected to new tortures with a number of companions in the town's amphitheater (now known as the Amphitheatre of the Three Gauls) at the time of the public games. She was bound to a stake and wild beasts were set on her. According to legend, they did not, however, touch her. After enduring this for a number of days she was led into the arena to see the sufferings of her companions. Finally, as the last of the martyrs, she was scourged, placed on a red-hot grate, enclosed in a net and thrown before a wild steer who tossed her into the air with his horns, and at last killed with a dagger. More on Blandina

Jules-Antoine Duvaux

Blandina in the Amphitheater of Lyon

Oil on canvas

92,2 x 73,5 cm ; 36 1/4 by 29 in.

Private collection

Jules-Antoine Gilles Duvaux, born on the 12 January 1818 In Bordeaux and died on 6 July 1884 In Paris, was a French painter, draftsman and engraver.

A student of Charlet, Jules Antoine Devaux specializes in painting battles, decorum and military costumes. His first exhibition dates from 1848, at the Salon des artistes français, where he presents Charge de cuirassiers in Valmy, which won the gold medal. In 1857, he presented The Assault of Sevastopol (National Museum of the Castles of Versailles and Trianon).

He undertook a trip to Sicily in 1859, returning with watercolors and drawings; Souvenirs de Sicily, which he exhibited at the Salon of 1863. He exhibited regularly until 1884. More on Jules-Antoine Gilles Duvaux

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01 Work, Interpretation of the bible, Abraham Janssens I's Penitent Magdalene, with Footnotes #206

Abraham Janssens I (1575–1632)

Penitent Magdalene, between 1575 and 1632

Oil on canvas

height: 123 cm (48.4 in); width: 94.5 cm (37.2 in)

Bavarian State Painting Collections, Schleißheim State Gallery

One of a series of half-length, figural compositions undertaken by Abraham Janssens in the 1620s, this painting of the Penitent Magdalen was intended for a private patron. Its owner would have savored the visual opulence of the pensive saint surrounded by jewels, silks, fruit, and a golden ointment jar, while also understanding the somber skull and crucifix as emblems of death and redemption. Janssens painted it during the Counter-Reformation, a period when the Catholic Church strongly encouraged penitence as the route to salvation. Traditionally described as a prostitute who became a devoted disciple of Christ, Mary Magdalen embodied notions of repentance and redemption. To this day, she remains a complex and mutable symbol of women and their place in the Church. More on this painting

Mary Magdalene, literally translated as Mary the Magdalene or Mary of Magdala, is a figure in Christianity who, according to the Bible, traveled with Jesus as one of his followers. She is said to have witnessed Jesus' crucifixion and resurrection. Within the four Gospels she is named more than most of the apostles. Based on texts of the early Christian era in the third century, it seems that her status as an “apostle" rivals even Peter's.

The Gospel of Luke says seven demons had gone out of her. She is most prominent in the narrative of the crucifixion of Jesus, at which she was present. She was also present two days later when, she was, either alone or as a member of a group of women, the first to testify to the resurrection of Jesus. John 20 and Mark 16:9 specifically name her as the first person to see Jesus after his resurrection.

During the Middle Ages, Mary Magdalene was regarded in Western Christianity as a repentant prostitute or promiscuous woman, claims not found in any of the four canonical gospels. More Mary Magdalene

Abraham Janssens I, Abraham Janssen I or Abraham Janssens van Nuyssen (1575–1632) was a Flemish painter, who is known principally for his large religious and mythological works, which show the influence of Caravaggio. He was the leading history painter in Flanders prior to the return of Rubens from Italy.

Abraham Janssens was born in Antwerp as the son of Jan Janssens and Roelofken van Huysen or Nuyssen. There is some uncertainty regarding his year of birth. He was previously thought to have been born in the year 1567, but it is now more generally assumed that his date of birth was 1575.

Janssens studied under Jan Snellinck and was registered as a pupil in the local Guild of Saint Luke in 1585. He travelled to Italy where he resided mainly in Rome between 1597 and 1602. After returning to his home country he became a master in the Antwerp Guild in the guild year 1601-1602.

In 1607 he became the dean of the Antwerp Guild of St Luke. This is also the time when he received his first major commissions, which initiated the most important period of his career. Until the return of Rubens to Antwerp in 1608, Janssens was considered perhaps the best history painter of his time. After Rubens became the dominant force for large altarpieces in the Antwerp market, Janssens had to find commissions for large monumental works from provincial patrons.

Janssens joined in 1610 the Confrerie of Romanists, a society of Antwerp humanists and artists who had travelled to Rome. The diversity and high positions held by the Confrerie's membership offered him a good opportunity to meet with potential patrons. More on Abraham Janssens the Elder

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