01 Work, Interpretation of the bible, With Footnotes - 128

Attributed to the  Master of the Prodigal Son

Susanna and the Elders

Oil on panel (parquetted)

97 x 120 cm

Private collection

A fair Hebrew wife named Susanna was falsely accused by lecherous voyeurs. As she bathes in her garden, having sent her attendants away, two lustful elders secretly observe the lovely Susanna. When she makes her way back to her house, they accost her, threatening to claim that she was meeting a young man in the garden unless she agrees to have sex with them.

She refuses to be blackmailed and is arrested and about to be put to death for promiscuity when a young man named Daniel interrupts the proceedings, shouting that the elders should be questioned to prevent the death of an innocent. After being separated, the two men are questioned about details of what they saw, but disagree about the tree under which Susanna supposedly met her lover. In the Greek text, the names of the trees cited by the elders form puns with the sentence given by Daniel. The first says they were under a mastic, and Daniel says that an angel stands ready to cuthim in two. The second says they were under an evergreen oak tree, and Daniel says that an angel stands ready to saw him in two. The great difference in size between a mastic and an oak makes the elders' lie plain to all the observers. The false accusers are put to death, and virtue triumphs. More about Susanna

The Master of the Prodigal Son. Named after the large altarpiece now in the Kunsthistorisches Museum in Vienna which depicts the Parable of the Prodigal Son, the Master of the present work comes very close in style to both Pieter Coecke van Aelst (1502-50) and Frans Floris (1517-1570). This stylistic affinity suggests that the artist was active in Antwerp during the second quarter of the 16th Century. The master often treated subjects from the Old Testament. More on The Master of the Prodigal Son

He was born in Antwerp and is considered to have run a workshop there with several pupils. His name is derived from a painting in Vienna. He is known for landscapes and religious works, and possibly travelled to Rome. Though a monogram of "LK" was discovered in one of his paintings, to conclude that this person was the Leonart Kroes mentioned as teacher in Karel van Mander's biography of Gillis van Coninxloo is incorrect. More on The Master of the Prodigal Son

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01 Painting, CONTEMPORARY & 20th Century Interpretation of the Bible! With Footnotes - 35

Lovis Corinth, (1858–1925)

Susanna and the Elders, c. 1923

Oil on canvas

150,5 x 111 cm

Lower Saxony State Museum 

A fair Hebrew wife named Susanna was falsely accused by lecherous voyeurs. As she bathes in her garden, having sent her attendants away, two lustful elders secretly observe the lovely Susanna. When she makes her way back to her house, they accost her, threatening to claim that she was meeting a young man in the garden unless she agrees to have sex with them.

She refuses to be blackmailed and is arrested and about to be put to death for promiscuity when a young man named Daniel interrupts the proceedings, shouting that the elders should be questioned to prevent the death of an innocent. After being separated, the two men are questioned about details of what they saw, but disagree about the tree under which Susanna supposedly met her lover. In the Greek text, the names of the trees cited by the elders form puns with the sentence given by Daniel. The first says they were under a mastic, and Daniel says that an angel stands ready to cuthim in two. The second says they were under an evergreen oak tree, and Daniel says that an angel stands ready to saw him in two. The great difference in size between a mastic and an oak makes the elders' lie plain to all the observers. The false accusers are put to death, and virtue triumphs. More about Susanna

Lovis Corinth (21 July 1858 – 17 July 1925) was a German artist and writer whose mature work as a painter and printmaker realized a synthesis of impressionism and expressionism.

Corinth studied in Paris and Munich, joined the Berlin Secession group, later succeeding Max Liebermann as the group's president. His early work was naturalistic in approach. Corinth was initially antagonistic towards the expressionist movement, but after a stroke in 1911 his style loosened and took on many expressionistic qualities. His use of color became more vibrant, and he created portraits and landscapes of extraordinary vitality and power. Corinth's subject matter also included nudes and biblical scenes. More on Lovis Corinth

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

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

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

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

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

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

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

03 Works, RELIGIOUS ART - CONTEMPORARY & 20th Century Interpretation of the Bible! With Footnotes - 27

 Irene Caesar, b. 1963

Susanna and the Elders, c. 2015

Triptych: left

Photograph

Susanna and the Elders. A fair Hebrew wife named Susanna was falsely accused by lecherous voyeurs. As she bathes in her garden, having sent her attendants away, two lustful elders secretly observe the lovely Susanna. When she makes her way back to her house, they accost her, threatening to claim that she was meeting a young man in the garden unless she agrees to have sex with them.

 Irene Caesar, b. 1963

Susanna and the Elders, c. 2015

Triptych: center

Photograph

She refuses to be blackmailed and is arrested and about to be put to death for promiscuity when a young man named Daniel interrupts the proceedings, shouting that the elders should be questioned to prevent the death of an innocent. After being separated, the two men are questioned about details of what they saw, but disagree about the tree under which Susanna supposedly met her lover. In the Greek text, the names of the trees cited by the elders form puns with the sentence given by Daniel. The first says they were under a mastic, and Daniel says that an angel stands ready to cuthim in two. The second says they were under an evergreen oak tree, and Daniel says that an angel stands ready to saw him in two. The great difference in size between a mastic and an oak makes the elders' lie plain to all the observers. The false accusers are put to death, and virtue triumphs. More on Susanna and the Elders

 Irene Caesar, b. 1963

Susanna and the Elders, c. 2015

Triptych: right

Photograph

Irene Caesar, Ph.D., (born 10 September 1963 in St. Petersburg, Russia) is a Russian-American conceptual artist and philosopher. She became a professional artist in 1988, and came to prominence in Russia in the early 1990s, with articles about her in major Russian newspapers of that time. As a way of questioning modern art, Caesar created a series of photographic portraits of some well-known critics, film directors, and artists, including Arthur Danto, Vitaly Komar, Alexander Melamid, Slava Tsukerman, Vadim Perelman, which she produced as absurd role-games. Caesar participated in the dissident movement in Russia, was invited by Marina Salye to make a speech at the Founding Conference of the Free Democratic Party of Russia during the 1991 Putsch, and produced the series of portraits of important dissidents. Critics emphasized that the uniqueness of Caesar’s creativity consists in the fact that, for the first time in the history of art, a woman – from a woman’s point of view -- gives an assessment of such a wide scope of human ideas via her art. More Irene Caesar

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, and The Canals of Venice, And visit my Boards on Pinterest

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

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

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

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

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

02 Works, RELIGIOUS ART - Interpretation the bible, With Footnotes - 120

Ivar Arosenius, (1878 - 1909)

”Susanna och gubbarne” (Susanna and the Elders), c. 1907

Watercolour on paper

5 x 5.5 cm

Private collection

A fair Hebrew wife named Susanna was falsely accused by lecherous voyeurs. As she bathes in her garden, having sent her attendants away, two lustful elders secretly observe the lovely Susanna. When she makes her way back to her house, they accost her, threatening to claim that she was meeting a young man in the garden unless she agrees to have sex with them.

She refuses to be blackmailed and is arrested and about to be put to death for promiscuity when a young man named Daniel interrupts the proceedings, shouting that the elders should be questioned to prevent the death of an innocent. After being separated, the two men are questioned about details of what they saw, but disagree about the tree under which Susanna supposedly met her lover. In the Greek text, the names of the trees cited by the elders form puns with the sentence given by Daniel. The first says they were under a mastic, and Daniel says that an angel stands ready to cuthim in two. The second says they were under an evergreen oak tree, and Daniel says that an angel stands ready to saw him in two. The great difference in size between a mastic and an oak makes the elders' lie plain to all the observers. The false accusers are put to death, and virtue triumphs. More about Susanna

Ivar Arosenius, (Swedish, 1878–1909) Title:

Susanna and the Elders, c. 1903

Watercolor

6 x 9 cm. (2.4 x 3.5 in.)

Private collection

Ivar Axel Henrik Arosenius (October 8, 1878 – January 2, 1909), was a Swedish painter and author of picture books. In the latter capacity he is most noted for the book Kattresan (The Cat Journey), which was published after his death. He lived in the village of Älvängen, north of Gothenburg. After his death, his house fell into disrepair and was finally demolished. He is buried at Östra kyrkogården in Gothenburg.

In Älvängen, one of the schools, Aroseniusskolan, is named after Ivar Arosenius.


Nowadays, some of Ivar Arosenius' paintings can be seen at the Museum of Art in Gothenburg. More on Ivar Arosenius

Please visit my other blogs: Art Collector, Mythology, Marine Art, and The Canals of Venice

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

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

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

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

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

01 Works, RELIGIOUS ART - Interpretation of the Bible! by the Old Masters, With Footnotes - 90

Dutch School, 17th Century

SUSANNA AND THE ELDERS

oil on canvas, unframed

42 1/4  by 36 1/2  in.; 107.3 by 92.7 cm.

Private collection

A fair Hebrew wife named Susanna was falsely accused by lecherous voyeurs. As she bathes in her garden, having sent her attendants away, two lustful elders secretly observe the lovely Susanna. When she makes her way back to her house, they accost her, threatening to claim that she was meeting a young man in the garden unless she agrees to have sex with them.

She refuses to be blackmailed and is arrested and about to be put to death for promiscuity when a young man named Daniel interrupts the proceedings, shouting that the elders should be questioned to prevent the death of an innocent. After being separated, the two men are questioned about details of what they saw, but disagree about the tree under which Susanna supposedly met her lover. In the Greek text, the names of the trees cited by the elders form puns with the sentence given by Daniel. The first says they were under a mastic, and Daniel says that an angel stands ready to cuthim in two. The second says they were under an evergreen oak tree, and Daniel says that an angel stands ready to saw him in two. The great difference in size between a mastic and an oak makes the elders' lie plain to all the observers. The false accusers are put to death, and virtue triumphs. More about Susanna

The Dutch School were painters in the Netherlands from the early Renaissance to the Baroque. It includes Early Netherlandish (1400–1500) and Dutch Renaissance (1500–1584) artists active in the northern Low Countries and, later, Dutch Golden Age painting in the United Provinces.

Many painters, sculptors and architects of the seventeenth century are called "Dutch masters", while earlier artists are generally referred to as part of the "Netherlandish" tradition. Hieronymus Bosch and Geertgen tot Sint Jans are well-known examples of fifteenth- and sixteenth-century Dutch painters. Rembrandt van Rijn, Frans Hals, Johannes Vermeer, Jacob van Ruisdael and Jan Steen exemplify art during the seventeenth century. An individual work's being labelled or catalogued as "Dutch School" without further attribution indicates that an individual artist for the work cannot be ascertained.

There was a healthy artistic climate in Dutch cities during the seventeenth century. For example, between 1605 and 1635 over 100,000 paintings were produced in Haarlem. At that time art ownership in the city was 25%, a record high. Not all of these have survived, but more art has survived up to today from that period in Haarlem than from any other Dutch city, thanks mostly to the Schilder-boeck published by Karel van Mander there in 1604. More on The Dutch School

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

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

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