Mythology: Saint Francis

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01 Work, RELIGIOUS ART - Francesco Francia's VIRGIN AND CHILD WITH SAN PETRONIO AND SAINT FRANCIS, With Footnotes - #184

Francesco Francia and his studio

Zola Predosa 1447/1450 - 1517 Bologna

VIRGIN AND CHILD WITH SAN PETRONIO AND SAINT FRANCIS

Oil on panel

63,4 x 47,2 cm ; 25 by 18 1/2 in.

Private collection

Saint Petronius (died ca. 450 AD) was bishop of Bologna during the fifth century. He is a patron saint of the city. Born of a noble Roman family, he became a convert to Christianity and subsequently a priest. As bishop of Bologna, he built the Church of Santo Stefano. More on Saint Petronius

The Virgin and Child with Saint Anne, or Madonna and Child with Saint Anne, is a subject in Christian art showing Saint Anne with her daughter, the Virgin Mary, and her grandson Jesus. This depiction has been popular in Germany and neighboring countries since the 14th century.

Saint Francis of Assisi (1181/1182 – 3 October 1226),[2] was an Italian Catholic friar, deacon and preacher. He founded the men's Order of Friars Minor, the women's Order of Saint Clare, the Third Order of Saint Francis and the Custody of the Holy Land. Francis is one of the most venerated religious figures in history.

Pope Gregory IX canonized Francis on 16 July 1228. He was designated Patron saint of Italy. He later became associated with patronage of animals and the natural environment. In 1219, he went to Egypt in an attempt to convert the Sultan to put an end to the conflict of the Crusades. By this point, the Franciscan Order had grown to such an extent that its primitive organizational structure was no longer sufficient. He returned to Italy to organize the Order. In 1223, Francis arranged for the first Christmas live nativity scene. According to Christian tradition, in 1224 he received the stigmata during the apparition of Seraphic angels in a religious ecstasy, which would make him the second person in Christian tradition after St. Paul (Galatians 6:17) to bear the wounds of Christ's Passion. He died during the evening hours of 3 October 1226. More on Saint Francis of Assisi

Francesco Francia, (1447 – January 5, 1517), was an Italian painter, goldsmith, and medallist from Bologna, who was also director of the city mint.[1][2]

He may have trained with Marco Zoppo and was first mentioned as a painter in 1486. His earliest known work is the Felicini Madonna, which is signed and dated 1494. He worked in partnership with Lorenzo Costa, and was influenced by Ercole de' Roberti's and Costa's style, until 1506, when Francia became a court painter in Mantua, after which time he was influenced more by Perugino and Raphael. He himself trained Marcantonio Raimondi, Ludovico Marmitta,[3] and several other artists; he produced niellos, in which Raimondi first learnt to engrave, soon excelling his master, according to Vasari. Raphael's Santa Cecilia is supposed to have produced such a feeling of inferiority in Francia that it caused him to die of depression. However, as his friendship with Raphael is now well-known, this story has been discredited.

He died in Bologna. His sons Giacomo Francia and Giulio Francia were also artists. Among his works is a Baptism of Christ in Lisbon

The relationship of St. Anne to the immaculate conception of her daughter is not explicit, but her mystical participation is implied. This should not be confused with the perpetual virginity of Mary or the virgin birth of Jesus. Although the belief was widely held since at least Late Antiquity, the doctrine was not formally proclaimed until December 8, 1854 when it was dogmatically defined in the Western Latin Rite by Pope Pius IX via his papal bull, Ineffabilis Deus. It was never explicitly so in the Eastern churches. More on Saint Anne, the Virgin and the Child Jesus

Francesco Raibolini (1447 – January 5, 1517), called Francia, was an Italian painter, goldsmith, and medallist from Bologna, who was also director of the city mint.

He may have trained with Marco Zoppo and was first mentioned as a painter in 1486. His earliest known work is the Felicini Madonna, which is signed and dated 1494. He worked in partnership with Lorenzo Costa, and was influenced by Ercole de' Roberti's and Costa's style, until 1506, when Francia became a court painter in Mantua, after which time he was influenced more by Perugino and Raphael. He himself trained Marcantonio Raimondi and several other artists; he produced niellos, in which Raimondi first learnt to engrave, soon excelling his master, according to Vasari. Raphael's Santa Cecilia is supposed to have produced such a feeling of inferiority in Francia that it caused him to die of depression. However, as his friendship with Raphael is now well-known, this story has been discredited.

He died in Bologna. His sons Giacomo Francia and Giulio Francia were also artists. Among his works is a Baptism of Christ in Lisbon. More on Francesco Raibolini

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01 Work, RELIGIOUS ART - Interpretation the bible, With Footnotes - 119

Flemish School 17th century
The Stigmatization of Saint Francis

Oil on panel
65 x 51.5 cm
Private collection

The Stigmatization of Saint Francis. Two years before his death, according to his custom, Saint Francis had repaired to Mt La Verna to spend the 40 days preceding the feast of St. Michael the Archangel in prayer and fasting.

On the morning of the feast of the Exultation of the Holy Cross, as he was praying in a secret and solitary place on the mountain, Saint Francis beheld a seraph with six wings all afire, descending to him from the heights of heaven.

Francis wondered at the appearance of the vision. But he understood the vision as a revelation of the Lord and that it was being presented to his eyes by Divine Providence so that the friend of Christ might be transformed into Christ crucified, not through martyrdom of the flesh, but through a spiritual holocaust.

The vision left behind it a marvelous fire in the heart of Saint Francis, and a token impressed on his flesh. For there began immediately to appear in his hands and in his feet something like nails as he had just seen them in the vision of the Crucified. The heads of the nails in the hands and feet were round and black, and the points were somewhat long and bent, as if they had been turned back. On the right side, as if it had been pierced by a lance, was the mark of a red wound, from which blood often flowed and stained his tunic. More on Stigmatization of Saint Francis

Saint Francis of Assisi (1181/1182 – 3 October 1226), was an Italian Roman Catholic friar and preacher. He founded the men's Order of Friars Minor, the women’s Order of Saint Clare, the Third Order of Saint Francis and the Custody of the Holy Land. Francis is one of the most venerated religious figures in history.

In 1219, he went to Egypt in an attempt to convert the Sultan to put an end to the conflict of the Crusades. By this point, the Franciscan Order had grown to such an extent that its primitive organizational structure was no longer sufficient. He returned to Italy to organize the Order. In 1224, he received the stigmata, during the apparition of Seraphic angels in a religious ecstasy making him the first recorded person to bear the wounds of Christ's Passion. More on Saint Francis of Assisi

Flemish painting flourished from the early 15th century until the 17th century, gradually becoming distinct from the painting of the rest of the Low Countries, especially the modern Netherlands. In the early period, up to about 1520, the painting of the whole area is (especially in the Anglophone world) typically considered as a whole, as Early Netherlandish painting. This was dominated by the Flemish south, but painters from the north were also important. Dutch and Flemish Renaissance painting, of which Antwerp became the centre, covers the period up to about 1580 or later, by the end of which the north and south Netherlands had become politically separated. Flemish Baroque painting was especially important in the first half of the 17th century, dominated by Rubens.

In theory the term does not refer to modern Flanders but to the County of Flanders and neighbouring areas of the Low Countries such as the Tournaisis and Duchy of Brabant. More on Flemish painting

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01 Works, RELIGIOUS ART - Interpretation the bible, With Footnotes - 110

Apollonio di GIOVANNI, (Florence 1415 / 1417-1465)

The Virgin and Child between Saint Francis and Saint Michael, circa 1445-1450

Egg paint and gold on wood panel

47 x 35 cm - 18 1/2 X 13 3/4 IN.

Private collection

There remains a hint of the Gothic spirit of the Gothic in the dancing attitude of Saint Michael and the somewhat manicured gesture of his left hand, while the corpulence of the Virgin, that of the Child, the treatment in perspective of his halo testify to Apollonio's sensitivity to the new Renaissance language. To these elements of style, are added the gestures and the expressive glances of the characters who create the animation of a true dialogue, giving to this work its liveliness. More on this work

ARCHANGEL MICHAEL, is an archangel in Judaism, Christianity, and Islam. In Roman Catholic, Eastern Orthodox, Anglican, and Lutheran traditions, he is called "Saint Michael the Archangel" and "Saint Michael". In the Oriental Orthodox and Eastern Orthodox traditions, he is called "Taxiarch Archangel Michael" or simply "Archangel Michael".

Michael is mentioned three times in the Book of Daniel, once as a "great prince who stands up for the children of your people". The idea that Michael was the advocate of the Jews became so prevalent that, in spite of the rabbinical prohibition against appealing to angels as intermediaries between God and his people, Michael came to occupy a certain place in the Jewish liturgy.

In the New Testament Michael leads God's armies against Satan's forces in the Book of Revelation, where during the war in heaven he defeats Satan. In the Epistle of Jude Michael is specifically referred to as "the archangel Michael". Christian sanctuaries to Michael appeared in the 4th century, when he was first seen as a healing angel, and then over time as a protector and the leader of the army of God against the forces of evil. By the 6th century, devotions to Archangel Michael were widespread both in the Eastern and Western Churches. Over time, teachings on Michael began to vary among Christian denominations. More Archangel Michael

Apollonio di Giovanni di Tomaso (1414 – 1465), was an Italian painter. He was born in Florence and is also known as the "Master of the Jarves Cassone". Apollonio di Giovanni was recorded in Florence 1446 where he ran a workshop specialised in producing wedding chests known as cassoni and other such furniture. He died in 1465. He worked in partnership with the woodworker Marco del Buono Giamberti, whose son became Apollonio's pupil and heir.

His style was directly inspired by the compositions of Fra Angelico and other Florentines like Fra Filippo Lippi , Paolo Veneziano , Paolo Uccello and Gentile da Fabriano . His late works date back 15 years before his death: the miniatures for the Bucoliche , the Georgiche and the Aeneid of Virgil ( Biblioteca Riccardiana , Florence), the faces of the chests with the scenes of the Aeneid , two chests of the Odissea (Chicago Art Institute, and Frick Collection at the Fogg Museum). More on Apollonio di Giovanni di Tomaso

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01 Works, RELIGIOUS ART - Interpretation the bible, With Footnotes - 109

Adriaen Isenbrant (1490 - 1551)

The Stigmatisation of Saint Francis

Oil on oak panel

43 x 30 cm.; 16 7/8 x 11 7/8 in.

Private collection

The Stigmatisation of Saint Francis. Two years before the great Saint Francis of Assisi died, and when he was forty-two years old — one year after he had built the first crib in honor of Our Lord — he went off to a lonely mountain called Mount Alvernia, to prepare himself by forty days of fasting and prayer for the feast of Saint Michael, the greatest of God’s angels. On the feast of the Exaltation of the Holy Cross, Saint Francis received in his hands, feet and side the Sacred Wounds from Our Lord’s own body. Never was a saint more beautifully loved by Jesus than Saint Francis of Assisi. The wounds Jesus gave him stayed in his hands, feet and side, and continually bled for two more years, until he died in 1226. More on The Stigmatisation of Saint Francis

Adriaen Isenbrandt (or Adrien, Isenbrant, Ysenbrant, Ysenbrandt or Hysebrant; between 1480 and 1490 – July 1551) was a Flemish Northern Renaissance painter, who from documentary evidence was clearly a significant artist of his period, but to whom no specific works can be clearly documented. As hypothesised by art historians, he ran a large workshop specializing in religious subjects and devotional paintings, painting conservatively in the tradition of Early Netherlandish painting. He was believed by Georges Hulin de Loo to be the same person as the anonymous Master of the Seven Sorrows of the Virgin or Pseudo-Mostaert. Other art historians doubt that any works can be reliably attributed to him, and the number of paintings attributed to him by major museums has been in decline for many decades. More on Adriaen Isenbrandt

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09 Carvings - Carvings & Sculpture from the Bible! 15 & 16th Century. With Footnotes, # 8

Our lady and baby Jesus

Terracotta painted sculpture, with silver crown, 18th century

24 cm.

Private collection

TWO CHURCH FATHERS, around 1800

Spain or Italy

Wood, carved in, polychrome and gilt.

H. 59 cm or 60 cm

Private collection

Two Fathers dressed in liturgical vestments with corresponding attributes: Cast and gospel book or a cathedral. More

The Fathers of the Church are so called because of their leadership in the early Church, especially in defending, expounding, and developing Catholic doctrines. For the first two centuries, most of these men were bishops, although in later years certain priests and deacons were also recognized as Fathers. More Fathers of the Church

Saint Sebastian, c. 1500

German, probably Franks

Wood, polychrome

H. 230 cm

Private collection

St. Sebastian shackled to a tree wearing only a loincloth. On body several stigmata are visible.

Saint Sebastian (died c. 288 AD) was an early Christian saint and martyr. Sebastian had prudently concealed his faith, but in 286 was detected. Diocletian reproached him for his betrayal, and he commanded him to be led to a field and there to be bound to a stake so that archers from Mauritania would shoot arrows at him. "And the archers shot at him till he was as full of arrows as an urchin is full of pricks, and thus left him there for dead." Miraculously, the arrows did not kill him.

Sebastian later stood by a staircase where the emperor was to pass and harangued Diocletian for his cruelties against Christians. This freedom of speech, and from a person whom he supposed to have been dead, greatly astonished the emperor; but, recovering from his surprise, he gave orders for his being seized and beat to death with cudgels, and his body thrown into the common sewer. A pious lady, called Lucina, admonished by the martyr in a vision, got it privately removed, and buried it in the catacombs at the entrance of the cemetery of Calixtus, where now stands the Basilica of St. Sebastian. More St. Sebastian

MADONNA WITH CHRIST CHILD

Nuremberg, around 1550

Carved in Wood

H. 31 cm

Private collection

Virgin with the Christ child on her right arm, standing on a crescent moon. The depiction of the Madonna on the crescent is based on the vision of John the Evangelist in chapter 12 of Revelation, the final book of the New Testament. More Crescent Madonna

Saint Isabel

Craved and painted wood sculpture

24,5 cm.

Private collection

Isabelle of France (March 1224 – 23 February 1270), sister of St. Louis and daughter of King Louis VIII of France and Blanche of Castile, she refused offers of marriage from several noble suitors to continue her life of virginity consecrated to God. She ministered to the sick and the poor, and after the death of her mother, founded the Franciscan Monastery of the Humility of the Blessed Virgin Mary at Longchamps in Paris. She lived there in austerity but never became a nun and refused to become abbess. She died there on February 23, and her cult was approved in 1521.. More Saint Isabel

Our Lady of Carmo, 18th Century

Terracotta sculpture

31 cm

Private collection

Our Lady of Mount Carmel (Ordem do Carmo) is the title given to the Blessed Virgin Mary in her role as patroness of the Carmelite Order. The first Carmelites were Christian hermits living on Mount Carmel in the Holy Land during the late 12th and early to mid-13th century. They built in the midst of their hermitages a chapel which they dedicated to the Blessed Virgin, whom they conceived of in chivalric terms as the "Lady of the place."

The Carmelite Order was the only religious order to be started in the Crusader States. More Our Lady of Carmo

Saint Francis and Christ

Carved wood sculpture

72 cm.

Private collection

Saint Francis of Assisi (1181/1182 – 3 October 1226),[1][3] was an Italian Roman Catholic friar and preacher. He founded the men's Order of Friars Minor, the women’s Order of Saint Clare, the Third Order of Saint Francis and the Custody of the Holy Land. Francis is one of the most venerated religious figures in history.

Our Lady, 17th century,

Carved and painted wood

72 cm.

Private collection

Saint Nicholas (15 March 270 – 6 December 343)

Ons Lieve Heer op Solder, Amsterdam, Netherland

Saint Nicholas (15 March 270 – 6 December 343), also called Nikolaos of Myra, was a historic 4th-century Christian saint and Greek Bishop of Myra, in Asia Minor. Because of the many miracles attributed to his intercession, he is also known as Nikolaos the Wonderworker. His reputation evolved among the faithful, as was common for early Christian saints, and his legendary habit of secret gift-giving gave rise to the traditional model of Santa Claus through Sinterklaas.

The historical Saint Nicholas, as known from strict history: He was born at Patara, Lycia in Asia Minor. In his youth he made a pilgrimage to Egypt and the Palestine area. Shortly after his return he became Bishop of Myra and was later cast into prison during the persecution of Diocletian. He was released after the accession of Constantine and was present at the Council of Nicaea.

He was buried in his church at Myra, and by the 6th century his shrine there had become well-known. In 1087 Italian sailors or merchants stole his alleged remains from Myra and took them to Bari, Italy; this removal greatly increased the saint’s popularity in Europe, and Bari became one of the most crowded of all pilgrimage centres. Nicholas’s relics remain enshrined in the 11th-century basilica of San Nicola at Bari. More Saint Nicholas

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15 Paintings, scenes from the Bible, by The Old Masters, with footnotes # 31

Follower of Pieter Coecke van Aelst (Aelst 1502-1550 Brussels)

The Adoration of the Magi

oil on panel

37.5 x 29.4cm (14 3/4 x 11 9/16in)

Private Collection

The Adoration of the Magi (anglicized from the Matthean Vulgate Latin section title: A Magis adoratur) is the name traditionally given to the subject in the Nativity of Jesus in art in which the three Magi, represented as kings, especially in the West, having found Jesus by following a star, lay before him gifts of gold, frankincense, and myrrh, and worship him. More

Pieter Coecke van Aelst or Pieter Coecke van Aelst the Elder (Aalst, 14 August 1502 – Brussels, 6 December 1550) was a Flemish painter, sculptor, architect, author and designer of woodcuts, stained glass and tapestries. His principal subjects were Christian religious themes. He worked in Antwerp and Brussels and was appointed court painter to Charles V, Holy Roman Emperor.

Coecke van Aelst was a polyglot. He published translations of Ancient Roman and modern Italian architectural treatises into Flemish, French and German. These publications played a crucial role in spreading Renaissance ideas to the Low Countries. They contributed to the transition in Northern Europe from the late Gothic style then prevalent towards a modern 'antique-oriented' architecture. More

Arcangelo di Jacopo del Sellaio (Florence circa 1477-1530)

The Miracle of the Loaves and Fishes

tempera on linen

62.2 x 120.6cm (24 1/2 x 47 1/2in)

Private Collection

Feeding the multitude is a term used to refer to two separate miracles of Jesus reported in the Gospels. The first miracle, "the Feeding of the 5,000", is the only miracle (apart from Jesus' resurrection) which is recorded in all four canonical Gospels. More

Arcangelo di Jacopo del Sellaio (Florence circa 1477-1530), sometimes known as Jacopo di Arcangel,, was an eclectic Italian painter from the early Renaissance, who painted in the style of the Florentine School. He was a pupil of Fra' Filippo Lippi, with his contemporary Sandro Botticelli, who became a lasting influence on him. It is noted that by 1460, he had joined the Confraternity of Saint Luke in Florence, and in 1473, he is documented to have shared a studio with Filippo di Giuliano.

A number of da Sellaio's paintings for decorative chests survive in collections, such as his Story of Cupid and Psyche. He executed another wedding cassone, The Nerli Cassone, in collaboration with Zanobi di Domenico and Biagio d'Antonio in 1472. His piece now in the Uffizi Gallery, The Banquet of Ahasuerus, was also painted with two other panels, including Esther before Ahasuerus (Museum of Fine Arts, Budapest) for a cassoni.

Da Sellaio's small devotional pieces were well known, several of which depicted Saint Jerome and Saint John the Baptist. He also painted religious works for the church of San Lucia dei Magnoli and the church of San Frediano, both in Florence. More

Jacob Jordaens, (Flemish, Antwerp 1593–1678 Antwerp)

The Holy Family with Saint Anne and the Young John the Baptist and His Parents

Oil on wood

66 7/8 x 59 in. (169.9 x 149.9 cm)

The Metropolitan Museum of Art

Jordaens frequently revised his own paintings after many years, as he did here. The Christ Child, Mary and Joseph, the Virgin’s mother Saint Anne, and probably a version of the infant Saint John the Baptist were depicted as a close family gathering in the early 1620s. At least twenty-five years later the artist added boards to the oak panel and painted the Baptist’s parents, Saints Elizabeth and Zacharias, and an angel on the left. Their more painterly style contrasts with the Caravaggesque modeling of the earlier figures. The cartouche, inscribed "If the root be holy, so are the branches" (from Saint Paul’s Epistle to the Romans) was added during the second stage of work. The shift from intimate to didactic presentation is typical of Jordaens’s late work. More

Jacob Jordaens (19 May 1593 – 18 October 1678) was a Flemish painter, draughtsman and tapestry designer known for his history paintings, genre scenes and portraits. After Peter Paul Rubens and Anthony van Dyck, he was the leading Flemish Baroque painter of his day. Unlike those contemporaries he never travelled abroad to study Italian painting, and his career is marked by an indifference to their intellectual and courtly aspirations. In fact, except for a few short trips to locations in the Low Countries, he remained in Antwerp his entire life. As well as being a successful painter, he was a prominent designer of tapestries. Like Rubens, Jordaens painted altarpieces, mythological, and allegorical scenes, and after 1640—the year Rubens died—he was the most important painter in Antwerp for large-scale commissions and the status of his patrons increased in general. However, he is best known today for his numerous large genre scenes based on proverbs in the manner of his contemporary Jan Brueghel the Elder, depicting The King Drinks and As the Old Sing, So Pipe the Young. Jordaens' main artistic influences, besides Rubens and the Brueghel family, were northern Italian painters such as Jacopo Bassano, Paolo Veronese, and Caravaggio. More

Circle of Adriaen van der Werff (Kralinger Ambach 1659-1722 Rotterdam)

The Holy Family with Saint Anne

oil on canvas

122 x 96cm (48 1/16 x 37 13/16in)

Private Collection

Adriaen van der Werff (21 January 1659 – 12 November 1722) was an accomplished Dutch painter of portraits and erotic, devotional and mythological scenes. His brother, Pieter van der Werff (1661–1722), was his principal pupil and assistant.

At the age of ten he started to take lessons, two years later moving in with Eglon van der Neer, specializing in clothes and draperie. At the age of seventeen he founded his own studio in Rotterdam where he later became the head of guild of Saint Luc. In 1696. 1703, he became the official court painter and a knight, when his former teacher and predecessor Van der Neer died. Van der Werff, with a perfect technique, was paid extremely well by the Elector for his biblical or classical (erotic) paintings. In 1705. In 1716, he lost his job when the Elector died because the treasury was empty.

Van der Werff became one of the most lauded Dutch painters of his day, gaining a European reputation and an enormous fortune. Arnold Houbraken, writing in 1718, considered him the greatest of the Dutch painters and this was the prevailing critical opinion throughout the 18th century: however, his reputation suffered in the 19th century, when he was alleged to have betrayed the Dutch naturalistic tradition. In the Victorian Age people could not appreciate his art, so most of his work went into the cellars of the Alte Pinakothek. More

François Guillaume Ménageot (French, London 1744–1816 Paris)

The Virgin Placing St. Teresa of Avila Under the Protection of St. Joseph, c. 1787

Oil paint over pen and brown ink, on paper, mounted on canvas

20 1/2 x 12 3/16 in. (52 x 31 cm)

The Metropolitan Museum of Art

Saint Teresa of Ávila, also called Saint Teresa of Jesus, baptized as Teresa Sánchez de Cepeda y Ahumada (28 March 1515 – 4 October 1582), was a Spanish nun, mystic and writer during the Counter-Reformation. Some sources suggest that as a girl, Theresa was willful and spoiled, and chose to enter the Carmelite sisterhood instead of marrying a wealthy hidalgo based on the mistaken belief that as a nun she would be afforded more freedom.

Upon entering the convent aged 19, Theresa became seriously ill (she has now become a patron saint for the infirm), possibly depressed and subjecting her body to self-mutilation.

By the time she reached her forties, Theresa had settled down to her new spiritual life, when one day, while praying and singing the hymn "Veni Creator Spiritus," she experienced the first of the episodes that would accompany her for the rest of her life: a rapture.

In her writings, Theresa describes how she would feel suddenly consumed by the love of God, feel the bodily presence of Christ or of angels, and be lifted to an exalted state of ecstasy. Although in her own lifetime Theresa was sometimes ridiculed for such claims, or even accused of communing with the devil, she became a prominent figure in the church. Theresa was one of only three female church doctors and was finally canonized in 1622.

In 1622, forty years after her death, she was canonized by Pope Gregory XV, and on 27 September 1970 was named a Doctor of the Church by Pope Paul VI. Her books, which include her autobiography (The Life of Teresa of Jesus) and her seminal work El Castillo Interior (The Interior Castle), are an integral part of Spanish Renaissance literature as well as Christian mysticism and Christian meditation practices.

A Santero image (Santo image) of the Immaculate Conception of El Viejo, said to have been sent with one of her brothers to Nicaragua by the saint, is now venerated as the country's national patroness at the Shrine of El Viejo. More

Unknown

Santa Teresa de Jesus

Discalced Carmelites. Jaén

The Discalced Carmelites or Barefoot Carmelites is a Catholic mendicant order with roots in the eremitic tradition of the Desert Fathers and Mothers. (Discalced is derived from Latin, meaning "without shoes".) The order was established in 1593, pursuant to the reform of the Carmelite Order of the Ancient Observance by two Spanish saints, Saint Teresa of Ávila and Saint John of the Cross. More

François-Guillaume Ménageot (1744–1816) was a French painter of religious and French historical scenes. A pupil of François Boucher (1703–1770), he went on to win the Grand Prix de Rome and become a director of the French Academy in Rome, an academician and a member of the Institute.

Ménageot was born in London, the son of an art dealer. He trained under first Jean-Baptiste-Henri Deshays, then Joseph-Marie Vien, and finally François Boucher (1703–1770). His 1766 Tomyris Plunging the Head of Cyrus into a Bowl of Blood won the Prix de Rome and a stay at the French Academy in Rome from 1769 to 1774.

The Académie Royale in Paris approved François-Guillaume as a history painter in 1777, and he then exhibited The Farewells of Polyxena to Hecuba at the Salon, and it received a good reception, as did his entrance piece Learning Resisting the Passage of Time and his 1781 Death of Leonardo da Vinci in the Arms of Francis I.. He and other painters led French painting to return to the Grand Style, with more horizontal compositions, more sculptural drapery, colder colouring and set in ever more monumental architecture. He died in Paris. More

After Jacopo da Ponte, called Jacopo Bassano, 19th Century

The Departure for Canaan

Oil on canvas

38.2 x 52cm (15 1/16 x 20 1/2in)

Private Collection

Genesis 12:1. Now the LORD said to Abram, "Go forth from your country, And from your relatives And from your father's house, To the land which I will show you; And I will make you a great nation, And I will bless you, And make your name great; And so you shall be a blessing;…"

Jacopo da Ponte, called Bassano (1510-1592) was born in Bassano del Grappa. His father, Francesco da Ponte, was also a painter and influenced the style of the young Bassano. Bassano lived and worked, at least temporarily, in Venice. Here he studied the works of his fellow painters Bonifazio, Titian, Tintoretto and Veronese. He painted a large number of Christian themes, but also animals and genre motifs emerged in large numbers. His works were characterized especially by his lucid colors. He ran a workshop where four of his sons, trained by himself, participated. Bassano was one of the most influential Venetian painters of the 16th century. More

Govert Flinck (1615-1660)

Bathsheba with David's letter

116.8 x 88.6 cm

Oil on canvas

Hermitage, St. Petersburg

Bathsheba was the wife of Uriah, a general of King David's army. The king, upon seeing Bathsheba bathing, had her summoned, and led her into adultery. In this works, the artist focuses his representation of the episode on Bathsheba at her bath. She is portrayed deeply disturbed by the royal message. More

Govert Flinck, (born January 25, 1615, Kleve, Brandenburg [Germany]—died February 2, 1660, Amsterdam, Dutch Republic [now in the Netherlands]) Baroque painter of portraits, genre, and narrative subjects, one of Rembrandt’s most-accomplished followers.

Flinck first studied in Leeuwarden and later entered Rembrandt’s studio. As a painter of biblical and allegorical subjects, he at first modeled his style closely on Rembrandt’s. Later he developed a more florid and oratorical manner, in which he appears to have been influenced by Peter Paul Rubens. Flinck’s most successful works were portraits, and he was especially successful in his group portraits. More

Circle of Francisco Rizi de Guevara (Madrid 1614-1685 El Escorial)

The Adoration of the Magi

Oil on canvas

166.2 x 125.1cm (65 7/16 x 49 1/4in).

Private Collection

The Adoration of the Magi, see above

Francisco Rizi de Guevara ( Madrid , 1614- San Lorenzo de El Escorial , 1685) was a Spanish Baroque painter, son of Antonio Ricci, an Italian artist who came to Spain to work on the decoration of the monastery of El Escorial under the orders of Federico Zuccaro , and brother of painter Fray Juan Rizi .

de Guevara was an apprentice of Vicente Carducho and highlights. This training is manifested in some of his early works, but soon distanced himself from his teacher due to his strong sense of dynamism and gestural expressiveness, and opulent baroque style, that are characteristic features of the Madrid school of painting, which he himself was one of the main representatives and teacher. More

Lombard School, late 16th Century

The Assumption of the Virgin

Oil on canvas

150.6 x 207.6cm (59 5/16 x 81 3/4in).

Private Collection

The Assumption of Mary into Heaven, often shortened to the Assumption and also known as the Falling Asleep of the Blessed Virgin Mary, according to the beliefs of the Catholic Church, Eastern Orthodoxy, Oriental Orthodoxy, and parts of Anglicanism, was the bodily taking up of the Virgin Mary into Heaven at the end of her earthly life. More

Lombard School was a school of art (architecture, stone carving, and painting) in Northern Italy. Lombard architecture developed from the eighth to tenth centuries. The establishment of Christianity as the Lombards’ official religion fostered the rise of an independent school of architecture that played a decisive role in the development of the Romanesque style in Italy. More

German School, 19th Century

Saint Catherine of Alexandria

Oil on panel

116.6 x 57.1cm (45 7/8 x 22 1/2in).

Private Collection

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 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;[4] however, she continued to be commemorated in the Roman Martyrology on 25 November. More

German art has a long and distinguished tradition in the visual arts, from the earliest known work of figurative art to its current output of contemporary art.

Germany has only been united into a single state since the 19th century, and defining its borders has been a notoriously difficult and painful process. For earlier periods German art often effectively includes that produced in German-speaking regions including Austria, Alsace and much of Switzerland, as well as largely German-speaking cities or regions to the east of the modern German borders. More

Florentine School, 16th Century

The Madonna and Child

Oil on panel

65 x 49.6cm (25 9/16 x 19 1/2in).

Private Collection

Florentine painting or the Florentine School refers to artists in, from, or influenced by the naturalistic style developed in Florence in the 14th century, largely through the efforts of Giotto di Bondone, and in the 15th century the leading school of Western painting. Some of the best known artists of the Florentine school, including other arts, are Filippo Brunelleschi, Donatello, Michelangelo, Fra Angelico, Botticelli, Lippi, Masolino, and Masaccio. More

Circle of Luis de Morales, (Badajoz circa 1509-1586)

Saint Francis

Oil on panel

48.2 x 12.4cm (19 x 4 7/8in).

Private Collection

Luis de Morales (1512 – 9 May 1586) was a Spanish painter born in Badajoz, Extremadura. Known as "El Divino", most of his work was of religious subjects, including many representations of the Madonna and Child and the Passion.

Influenced, especially in his early work, by Raphael Sanzio and the Lombard school (fr) school of Leonardo, he was called by his contemporaries "The Divine Morales", because of his skill and the shocking realism of his paintings, and because of the spirituality transmitted by all his work.

His work has been divided by critics into two periods, an early stage under the influence of Florentine artists such as Michelangelo and a more intense, more anatomically correct later period similar to German and Flemish Renaissance painters. More

German School, early 17th Century

The Lamentation of Christ, c. 1604

Oil on panel

42.2 x 43cm (16 5/8 x 16 15/16in).

Private Collection

The Lamentation of Christ is a very common subject in Christian art from the High Middle Ages to the Baroque. After Jesus was crucified, his body was removed from the cross and his friends mourned over his body. This event has been depicted by many different artists.

Lamentation works are very often included in cycles of the Life of Christ, and also form the subject of many individual works. One specific type of Lamentation depicts only Jesus' mother Mary cradling his body. These are known as Pietà (Italian for "pity") More

German School, see above

Flemish School, 16th Century

The Flight into Egypt

oil on copper

17 x 22.6cm (6 11/16 x 8 7/8in)

Private Collection

The flight into Egypt is a biblical event described in the Gospel of Matthew in which Joseph fled to Egypt with Mary and infant son Jesus after a visit by Magi because they learned that King Herod intended to kill the infants of that area. The episode is frequently shown in art, as the final episode of the Nativity of Jesus in art, and was a common component in cycles of the Life of the Virgin as well as the Life of Christ.

When the Magi came in search of Jesus, they go to Herod the Great in Jerusalem and ask where to find the newborn "King of the Jews". Herod becomes paranoid that the child will threaten his throne, and seeks to kill him. Herod initiates the Massacre of the Innocents in hopes of killing the child. But an angel appears to Joseph and warns him to take Jesus and his mother into Egypt.

Egypt was a logical place to find refuge, as it was outside the dominions of King Herod, but both Egypt and Israel were part of the Roman Empire, linked by a coastal road known as "the way of the sea", making travel between them easy and relatively safe. More

Flemish School, see above

Acknowledgement: Bonhams,

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