Mythology: RELIGIOUSART

Showing posts with label RELIGIOUSART. Show all posts

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, Interpretation of the bible, Donato Creti's The Penitent Magdalene, with Footnotes - #211

Donato Creti

"The Penitent Magdalene"

Oil on canvas

Size: 24” inches wide by 29” inches high

I have no further description, at this time

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

Donato Creti (24 February 1671 – 31 January 1749) was an Italian painter of the Rococo period, active mostly in Bologna.

Born in Cremona, he moved to Bologna, where he was a pupil of Lorenzo Pasinelli. He is described by Wittkower as the "Bolognese Marco Benefial", in that his style was less decorative and edged into a more formal neoclassical style. It is an academicized grand style, that crystallizes into a manneristic neoclassicism, with crisp and frigid modeling of the figures. Among his followers were Aureliano Milani, Francesco Monti, and Ercole Graziani the Younger. Two other pupils were Domenico Maria Fratta and Giuseppe Peroni. More on Donato Creti

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01 Work, CONTEMPORARY Interpretation of the Bible! Harry Morley's A Wayside Madonna, with Footnotes - #53

Harry Morley (1881–1943)

A Wayside Madonna, c. 1927

Oil on canvas

height: 108.3 cm (42.6 in); width: 96.5 cm (37.9 in)

Leicester Museum & Art Gallery

A small group of women stand behind the foreground sitter, their silent attitudes seeming to turn in judgement against her. The gate to her village beyond is shut, symbolising the refusal of passage to the mother (Madonna) to her home; Palestine!

Harry Morley was born in Leicester, England on 5 April 1881 and studied architecture at Leicester School of Art. In 1901 he began training in the London office of the architect Arthur Beresford Pite (1861-1934). He then continued his architectural studies at the Royal College of Art in London. In 1905 [or 1904 - sources differ] he was awarded scholarships from the RCA and the Royal Institute of British Architects which enabled him to attend the Académie Julian in Paris and to travel though Italy and France. Following his return to England, Morley appears to have abandoned thoughts of practising as an architect, and embarked on a career as a painter, illustrator, and (from 1928) engraver. From the early 1900s onwards Morley exhibited extensively, including at Agnew & Sons Gallery, Beaux Arts Gallery, Colnaghi & Co. More on Harry Morley

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01 Painting, RELIGIOUS ART - Giampietrino's Madonna nursing the Christ Child with Saint Anne, with footnotes #188

Giovanni Pietro Rizzoli, called Giampietrino, Milan 1480 or 1485 - 1553

Madonna nursing the Christ Child with Saint Anne

Oil on panel

25⅜ by 20⅛ in.; 64.5 by 51.1 cm.

Private collection

Sold for 252,000 USD in January 2023

Sitting on a stone parapet, the Virgin, in the pose of a Madonna lactans, nurses the infant Jesus as her own mother stands behind. The two women offer contrasting emotional responses to Christ’s ultimate fate: Saint Anne, shown with wizened features, stares stoically into the distance, while the Madonna diverts her tear-filled eyes from the child who lays across her lap. He, in turn, gazes at the viewer with innocent (or is it omniscient?) composure, seemingly content to nurse from his mother’s breast. Yet while his chubby body and energetically infantile pose speak to his childlike nature, the apple in his right hand recalls Eve’s original sin, the root of his own eventual sacrifice. More on this painting

According to Christian apocryphal and Islamic tradition, Saint Anne was the mother of Mary and the maternal grandmother of Jesus. Mary's mother is not named in the canonical gospels. In writing, Anne's name and that of her husband Joachim come only from New Testament apocrypha, of which the Gospel of James seems to be the earliest that mentions them. The mother of Mary is mentioned but not named in the Quran. More on Saint Anne

The Nursing Madonna, Virgo Lactans, or Madonna Lactans, is an iconography of the Madonna and Child in which the Virgin Mary is shown breastfeeding the infant Jesus. In Italian it is called the Madonna del Latte ("Madonna of milk"). It was a common type in painting until the change in atmosphere after the Council of Trent, in which it was rather discouraged by the church, at least in public contexts, on grounds of propriety

In the Middle Ages, the middle and upper classes usually contracted breastfeeding out to wetnurses, and the depiction of the Nursing Madonna was linked with the Madonna of Humility, a depiction that showed the Virgin in more ordinary clothes than the royal robes shown, for instance, in images of the Coronation of the Virgin, and often seated on the ground. More on The Nursing Madonna

Giampietrino, probably Giovanni Pietro Rizzoli (active 1495–1549), was a north Italian painter of the Lombard school and Leonardo's circle. Giampietrino was a very productive painter of large altarpieces, Madonnas, holy women in half figure, and mythological women. For a long time, the true identity of the artist was unknown; he was only known as a so-called "Giampietrino" whose name appeared in lists of the members of Leonardo's studio. In 1929, Wilhelm Suida suggested that he could perhaps be Giovanni Battista Belmonte, since a Madonna signed with this name and dated 1509 had been associated stylistically with Giampietrino. Since then, this assumption is considered outdated, and Giampietrino is identified predominantly with Giovanni Pietro Rizzoli, who is known through documents.

Giampietrino has been regarded as a talented painter who contributed substantially to the distribution of the late style of Leonardo da Vinci. He copied numerous masterpieces by Leonardo, as well as leaving behind numerous capable original compositions of his own. Many of his works are preserved in multiple versions of the same subject. More on Giovanni Pietro Rizzoli

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01 Limestone Sculpture, RELIGIOUS ART, French, Normandy, Virgin and Child - with footnotes #187

French, Normandy

Virgin and Child, c. First half 14th century

Limestone with traces of polychromy

52 ½ in.; 133.3cm.

Private collection

Sold for 113,400 USD in January 2022

This seated Virgin holds a lily-scepter in her proper left hand and supports the Christ Child with her right. She wears a belted gown under an open mantle, the edges of which are decorated with cavities that would have held jewels made from colored glass. The Christ Child stands on her lap, raising his proper left hand in blessing. The head of the Virgin, her garments, and the execution of her drapery are all consistent with examples of the present subject that were carved in Northern France during the first half of the 14th century.

While many of the Virgin and Child groups produced in France in the Gothic period possess more familial and tender poses, the front-facing and slightly formal postures of the figures in this group, and especially of the Christ Child, who stands in his mother’s lap, evoke the sedes sapientiae, or Throne of Wisdom, a representation of the Virgin and Child typical of the Romanesque period. More on this Sculpture

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01 Work, Interpretation of the bible, Marc Chagall's Anne Invoque l'Eternel, with Footnotes - #218

Marc Chagall

Anne Invoque l'Eternel, from La Bible (V. 256; C. 30), c. 1931-39

(Is she praying for Gaza?)

Etching with handcoloring printed on Arches paper

21 x 15 3/8in

Private collection

Anna (distinguished as Anna the Prophetess), is a woman mentioned in the Gospel of Luke. According to that Gospel, she was an elderly woman of the Tribe of Asher who prophesied about Jesus at the Temple of Jerusalem. She appears in Luke 2:36–38 during the presentation of Jesus at the Temple.

"There was also a prophet, Anna, the daughter of Phanuel, of the tribe of Asher. She was very old; she had lived with her husband seven years after her marriage, and then was a widow until she was eighty-four. She never left the temple but worshiped night and day, fasting and praying. Coming up to them at that very moment, she gave thanks to God and spoke about the child to all who were looking forward to the redemption of Jerusalem. More on this Etching

Marc Zakharovich Chagall (1887 – 28 March 1985) was a Russian-French artist. An early modernist, he was associated with several major artistic styles and created works in virtually every artistic medium, including painting, book illustrations, stained glass, stage sets, ceramic, tapestries and fine art prints.

Chagall saw his work as "not the dream of one people but of all humanity. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN, and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opéra.

Before World War I, he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern European Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922.

He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is" More on Marc Zakharovich Chagall

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08 Works, Contemporary Interpretations of The Bible, William Oxer's The Grieving Magdalene, with footnotes #46

After William Oxer
The Grieving Magdalene 1

AI Generated

nightcafe

Mary Magdalene was a woman who, according to the four canonical gospels, traveled with Jesus as one of his followers and was a witness to his crucifixion and resurrection. She is mentioned by name twelve times in the canonical gospels, more than most of the apostles and more than any other woman in the gospels, other than Jesus's family.

After William Oxer
The Grieving Magdalene 2

AI Generated

deviantart

After William Oxer
The Grieving Magdalene 3

AI Generated
deviantart

After William Oxer
The Grieving Magdalene 4

AI Generated
deviantart

The sacrament of Penance had important significance in Counter-Reformation spirituality, and artists frequently portrayed penitent saints as exemplars of religious fervor. Such works were meant to inspire a greater devotion. The popularity of The Magdalene as a subject is also associated with her implied sexuality. Her passive gaze and partially naked body appealed to male viewers, for whom such paintings offered a moralizing context through which to engage with the sensuality of the female form.

After William Oxer
The Grieving Magdalene 5

AI Generated
deviantart

The Magdalene’s partly exposed breasts and long, flowing hair, would have held erotic connotations for the sixteenth-century viewer. Biographer Giorgio Vasari denied such sexual undertones, and declared that the pictures “profoundly stirs the emotions of all who look at them; and, moreover, although the of figure Mary Magdalene is extremely lovely it moves one to thoughts of pity rather than desire.”

After William Oxer
The Grieving Magdalene 6

AI Generated
deviantart

Mary Magdalene's mourning for Christ is a poignant and deeply emotional moment in the Christian narrative. After the crucifixion, she is depicted as one of the most devoted followers of Jesus, filled with grief and despair at his passing. Her sorrow is profound, reflecting not just the loss of Jesus as a leader and teacher but also as a beloved figure in her life.

After William Oxer
The Grieving Magdalene 7

AI Generated
deviantart

Her story invites reflection on the nature of grief and the possibility of finding solace and joy even in the depths of sorrow. It speaks to the human experience of loss and the strength of love that endures beyond death.

In her anguish, Mary embodies the themes of loss, love, and hope.

After William Oxer
The Grieving Magdalene 8

AI Generated
deviantart

"William Oxer is not merely a painter; he is a distinctive sensibility, with a poetic vision he explores in many media. His art is affirmative, evocative and forgiving..." Professor Sir Roger Scruton

"William Oxer's paintings represent a strikingly fresh current in contemporary art. His work is experimental, and he is also willing to take on larger themes as well as demonstrating a delight in detail and minutiae. Very few contemporary artists paint so consistently well." Dr David Morley, University of Warwick

In 2017 William was invited by the Royal Society of Arts to become one of their Fellows, which he is honoured to become. More on William Oxer

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01 Work, Interpretation of the bible, Italian School's Abraham Casting Out Hagar and Ishmael, with Footnotes - #220

Italian School (18th Century)

Abraham Casting Out Hagar and Ishmael

Oil on canvas

55-1/2 x 47-1/2 inches (141.0 x 120.7 cm)

Private collection

Sold for $1,000 USD in May 2022

Hagar is a biblical person in the Book of Genesis Chapter 16. She was an Egyptian handmaid of Sarah, who gave her to Abraham “to wife” to bear a child. The product of the union was Abraham’s firstborn, Ishmael, the progenitor of the Ishmaelites.

After Sarah gave birth to Isaac, and the tension between the women returned. At a celebration after Isaac was weaned, Sarah found the teenage Ishmael mocking her son, and demanded that Abraham send Hagar and her son away. She declared that Ishmael would not share in Isaac’s inheritance. Abraham was greatly distressed but God told Abraham to do as his wife commanded because God’s promise would be carried out through both Isaac and Ishmael.

The name Hagar originates from the Book of Genesis, and is only alluded to in the Qur’an. She is considered Abraham’s second wife in the Islamic faith and acknowledged in all Abrahamic faiths. In mainstream Christianity, she is considered a concubine to Abraham. More on Hagar

Painting in 17th-century Italy was an international endeavor. Large numbers of artists traveled to Rome, especially, to work and study. They sought not only the many commissions being extended by the Church but also the chance to learn from past masters. Most of the century was dominated by the baroque style, whose expressive power was well suited to the needs of the Counter-Reformation Church for affecting images.

The drama and movement that characterized the baroque—in sculpture and architecture as well as painting—can be first seen, perhaps, in the work of Caravaggio, who died in 1610. His strong contrasts of light and dark and unblinking realism were taken up by many artists, including the Italian Orazio Gentileschi, the Spaniard Jusepe de Ribera, and the Frenchmen Valentin de Boulogne and Simon Vouet, all of whom worked in Italy. Other artists carried Caravaggio’s so-called tenebrist style to northern Europe.

The more classical approach of the Carracci and their students Guercino and Domenichino was also an important force in 17th-century painting. It provided a foundation for the rational clarity that structured the work of French artists Nicolas Poussin and Claude Lorrain, both of whom worked in Rome for most of their lives. More on the ITALIAN SCHOOL, (17th century)

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01 Work, CONTEMPORARY Interpretation of the Bible! ZURAB TSERETELI'S Jesus Healing the Sick, with Footnotes - #47

ZURAB TSERETELI (GEORGIAN B. 1934)

Jesus Healing the Sick

Enamel and copper

33.5 x 26 cm (13 1/4 x 10 1/4 in.)

Private collection

Sold for $1,000 USD in Oct 2022

Jesus used a variety of different methods to heal the sick and the infirmed. Sometimes they were healed through prayer alone. At other times, prayer was combined with a touch.

Zurab Tsereteli was born in Tbilisi, Georgia, in 1934 and graduated from the Tbilisi State Academy of Arts in 1958. Solo exhibitions include: the New Manege, Moscow (1998 and 2004); the UNESCO headquarters, Paris (2007), Museo di San Salvatore, Rome (2011), the Palace of Gran Guardia, Verona (2016) and the Palais des Festivals et des Congrès, Cannes (2017).

In 1995, Tsereteli established the Moscow Museum of Modern Art, officially opened in 1999 as the first state museum in Russia entirely dedicated to modern and contemporary art. In 1997, Tsereteli was elected the President of the Russian Academy of Arts. In 2001, the Gallery of Arts of Zurab Tsereteli was opened in Moscow as part of the Russian Academy of Arts, and in 2012, Zurab founded the Museum of Modern Art in Tbilisi.

Tsereteli has been awarded UNESCO Ambassador of Good Will (2007); Member of the European Academy of Sciences and Arts, Austria (2009); Chevalier of the National Order of the Legion of Honor by the government of France (2010); For Life in Art Prize and the International Giuseppe Sciacca Award from the Roman Academy of Fine Arts (2011); UNESCO Five Continents Medal (2014) and elected Member of the Chinese Academy of Fine Arts (2015). More on Zurab Tsereteli

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01 Work, Interpretation of the bible, Luca Giordano's Tatiana of Rome, with Footnotes #200

After Luca Giordano
Tatiana of Rome

AI Generated

neural.love

Saint Tatiana was a Christian martyr in 3rd-century Rome during the reign of Emperor Severus Alexander.

According to legend, she was the daughter of a Roman civil servant who was secretly Christian, and raised his daughter in the faith. This was dangerous, and one day the jurist Ulpian captured Tatiana and attempted to force her to make a sacrifice to Apollo. She prayed, and miraculously, an earthquake destroyed the Apollo statue and part of the temple.

Tatiana was then blinded, and beaten for two days, before being brought to a circus and thrown into the pit with a hungry lion. But the lion did not touch her and lay at her feet. She was then sentenced to death, and after being tortured, Tatiana was beheaded with a sword on January 12, around AD 225 or 230. More on Saint Tatiana

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