Showing posts with label Saint Sebastian. Show all posts
Showing posts with label Saint Sebastian. Show all posts

01 Work, Interpretation of the bible, Rutilio Manetti and Domenico Manetti's Saint Sebastian and the Pious Women, with Footnotes #199

Rutilio Manetti and Domenico Manetti
Saint Sebastian and the Pious Women
Oil on canvas
124.3 x 148 cm.; 48⅞ x 58¼ in.
Private collection

Estimated for 60,000 - 80,000 GBP in July 2022

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

The name Lucina appears repeatedly in early Christian traditions in connection with the deeds of pious Roman women. It may not designate a historical person, but the topos of the "Quaedam matrona", a noble woman or widow who ensures the appropriate mourning and burial of a martyr, since the time span of the stories extends from the 1st to the 4th century. More on Lucina 

Manetti was born at Siena in 1609, and was probably a relation of Rutilio Manetti
. He painted chiefly for the churches of Siena, but also produced historical subjects of an easel size. Lanzi particularly mentions one in the Casa Magnoni, representing the Baptism of Constantine. He died in 1663. More on Rutilio Manetti and Domenico Manetti



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01 Painting, RELIGIOUS ART - Interpretations by The Master of the Figdor St Eustache, With Footnotes # 70 A

The Master of the Figdor St Eustache
ACTIVE IN ROMAGNA AT THE END OF THE 15TH CENTURY
THE MARTYRDOM OF SAINT SEBASTIAN
Oil on panel, maroflauged
88.3 x 65.3 cm.; 34 3/4  x 25 3/4  in.
Private collection

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


The name of the artist derives from a panel depicting Saint Eustace in the Gemäldegalerie, Berlin, formerly in the Figdor collection, which was considered to be by Melozzo da Forlí by some of the titans of twentieth-century Italian art history, including Roberto Longhi, Carlo Volpe and Federico Zeri.1 While recognising the distinct debt to Melozzo, more recent scholars such as Tambini (see Literature) have questioned this attribution, proposing instead that it could be an early work by Marco Palmezzano while still heavily dependent on Melozzo's style. More on this painting




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01 Painting, RELIGIOUS ART - Interpretations by Marco Palmezzano's Saint Sebastian, With Footnotes # 70 B

Marco Palmezzano,  (1459–1539)
Saint Sebastian, circa 1515-1520
Tempera and oil on wood
81 х 60 cm.
Christian Museum, Budapest

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

Marco Palmezzano (1460–1539) was an Italian painter and architect, belonging to the Forlì painting school, who painted in a style recalling earlier Northern Renaissance models. He was mostly active near Forlì.

After his initial training with the painter Melozzo da Forlì Palmezzano went to Rome in the early 1490s.

It is rumored that Palmezzano may have then traveled to Jerusalem to join the team painting frescoes at the Holy Cross church there, but no documentary evidence exists. He is, however, noted in property records as residing in Venice in 1495. Shortly thereafter, Palmezzano returned to Forlì, where he spent the rest of his long life—apparently with only brief excursions connected with commissions in other places in the region—until his death in 1539.

Palmezzano's studio was prolific in producing altarpieces, most commonly featuring the iconic arrangement of an enthroned Virgin with child on her lap, while below, symmetrically sited in the foreground are flanking saints. Venetian painting, in general, and the work of Giovanni Bellini and Cima da Conegliano, in particular, were to remain the most powerful influences on Palmezzano's output. Moreover, he remained faithful to the Venetian style of the later 15th and early 16th century. Mannerism entirely passed him by, and he seemed immune to subsequent developments in Venetian painting. One of the most attractive facets of Palmezzano's oeuvre are the distinctive and suggestive landscapes that form the backdrops of many of his altarpieces. These are a blend of the ideal and lyrical, and of the observed reality of the Apennine foothills and mountains to the south of Forli for which Palmezzano clearly had a real affection. These landscapes are also employed to subtle and imaginative effect to convey the symbolic religious messages of the works. 
More on Marco Palmezzano




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02 Ivory Carvings, from Bible stories! 17th Century of Saint Sebastian, with Footnote #15

17C French Ivory Relief Plaque
Saint Sebastian
Ivory
6-1/4" x 4-1/4"
Private collection

17th century carved ivory relief depicting St. Sebastian being released from the tree. According to tradition, he was rescued by Irene of Rome. In this unusual depiction, he is shown being untied by cherubs. His body shows several puncture marks from the arrows that were shot into him.

French 
Saint Sebastian, 17 C
Ivory Relief Plaque 
6-3/4" x 4"
Private collection

17th century carved ivory relief depicting St. Sebastian tied to a tree, with an arrow in his chest. According to tradition, he was rescued by Irene of Rome (later condemned by Diocletian to be clubbed to death).


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





Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artists365 Saints365 Days, and Biblical Icons, also visit my Boards on Pinterest

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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.

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01 Work, RELIGIOUS ART - Interpretation of the bible, With Footnotes - 170

Josse Lieferinxe,  (–1508)
Saint Sebastian Cured by Irene, circa 1497
Oil on panel
Height: 813.31 mm (32.02 ″); Width: 548.39 mm (21.59 ″)
Philadelphia Museum of Art

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. However, Irene came to bury the body and found that he was not quite dead. Irene took him to her lodgings and nursed him back to health

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

Irene of Rome was the widow of the martyr St. Castulus. After the death of her husband, she continued to be active in the Christian community in Rome. According to legend, when Saint Sebastian was discovered to be a Christian, in 286, he was handed over to the Mauretanian archers, who tied him to a tree and pierced him with arrows.

However, Irene came to bury the body and found that he was not quite dead. Irene took him to her lodgings and nursed him back to health. Irene is venerated by Christians for her virtuous care in attending the injured. More on Irene of Rome

Josse Lieferinxe (working ca 1493–1503/08) was a South Netherlandish painter, formerly known by the pseudonym the Master of St. Sebastian.

Originating in the diocese of Cambrai in Hainaut, then part of the territories ruled by the Dukes of Burgundy, Josse Lieferinxe was documented as a "Picard" in the regions of Avignon and Marseille at the end of the fifteenth and in the early sixteenth centuries. He was first mentioned in Provence in 1493. In 1503 he married Michelle, a daughter of Jean Changenet, the most prominent painter of Avignon, in whose atelier Lieferinxe may have matured his style. He was last mentioned living in 1505, and in 1508 as deceased. More on Josse Lieferinxe



Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceAnd visit my Boards on Pinterest


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01 Work, RELIGIOUS ART - Interpretation of the bible, With Footnotes - 153

Master of the Female Half-Lengths
VIRGIN AND CHILD IN A LANDSCAPE, TOGETHER WITH TWO WINGS DEPICTING MALE AND FEMALE DONORS AND THEIR CHILDREN WITH SAINTS SEBASTIAN AND GERTRUDE OF NIVELLES
Oil on panel
central panel: 68 x 41.5 cm.; 26 3/4  x 16 1/4  in.
wings, each: 72 x 19 cm.; 28 1/4  x 7 1/2  in.
Private collection

The Master of the Female Half-Lengths was a painter, or likely a group of painters of a workshop, active in the sixteenth century. The name was given in the 19th century to identify the maker or makers of a body of work consisting of 67 paintings to which since 40 more have been added.

The works were apparently the product of a large workshop that specialized in small-scale panels depicting aristocratic young ladies at half-length. The ladies are engaging in various activities such as reading, writing, or playing musical instruments and are typically placed in a wood-panelled interior or against a neutral background. Some of the women are represented with an ointment jar, the attribute of Mary Magdalene. To the Master are also attributed a few paintings of mythological subjects and copies of standardized compositions such as the Crucifixion, the Deposition, the Virgin of Sorrows, St Jerome and Lucretia.

There is no agreement on the Master’s identity and the place and period of his activity. Antwerp, Bruges, Ghent, Mechelen and the French court have been proposed for the location of his workshop. Estimates for his period of activity vary from the early to the late 16th century. More on The Master of the Female Half-Lengths

Master of the Female Half-Lengths
THE TWO WINGS DEPICTING MALE AND FEMALE DONORS AND THEIR CHILDREN WITH SAINTS SEBASTIAN AND GERTRUDE OF NIVELLES
oil on panel
central panel: 68 x 41.5 cm.; 26 3/4  x 16 1/4  in.
wings, each: 72 x 19 cm.; 28 1/4  x 7 1/2  in.
Private collection

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

SAINT GERTRUDE OF NIVELLES was born at Landen, Belgium in 626 and died at Nivelles, 659. Both her parents, Pepin of Landen and Itta were held to be holy by those who knew them; her sister Begga is numbered among the Saints. On her husband's death in 640, Itta founded a Benedictine monastery at Nivelles, which is near Brussels, and appointed Gertrude its abbess when she reached twenty, tending to her responsibilities well, with her mother's assistance, and following her in giving encouragement and help to monks, particularly Irish ones, to do missionary work in the locale. 

She was known for her hospitality to pilgrims and her aid to missionary monks from Ireland as we indicated above: She gave land to one monk so that he could build a monastery at Fosse. By her early thirties Gertrude had become so weakened by the austerity of abstaining from food and sleep that she had to resign her office, and spent the rest of her days studying Scripture and doing penance. 

Devotion to St. Gertrude became widely spread in the Lowlands and neighboring countries.

Another patronage is to travelers on the high seas. It is held that one sailor, suffering misfortune while under sail, prayed to the Saint and was delivered safely. More on Saint Gertrude





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01 Works, RELIGIOUS ART - Interpretation of the bible, With Footnotes - 154

Ángel Zárraga (Mexican Painter 1886 - 1946) 
Votive Offering [Saint Sebastian], c. 1912 
Oil on canvas, 
Height: 1,850 mm (72.83 in). Width: 1,345 mm (52.95 in). 
Museo Nacional de Arte, Mexico City, Mexico

A votive offering is one or more objects displayed or deposited, without the intention of recovery or use, in a sacred place for broadly religious purposes. Such items are a feature of modern and ancient societies and are generally made in order to gain favor with supernatural forces. Some offerings have apparently been made in anticipation of the achievement of a particular wish, but in Western cultures from which documentary evidence survives it has been more typical to wait until the wish has been fulfilled before making the offering,] for which the more specific term ex-voto may be used. Votive offerings have been described in historical Roman era and Greek sources, although similar acts continue into the present day, for example in traditional Catholic culture and, arguably, in the modern-day practice of tossing coins into a wishing well or fountain. The modern construction practice called topping out can be considered as an example of a votive practice that has very ancient roots. More on A votive offering

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

Ángel Zárraga (y) Argüelles (b. Victoria de Durango, August 16, 1886 – d. September 22, 1946) was a Mexican painter, born as son of the physician Dr. Fernando Zárraga and his wife Guadalupe Argüelles in the Barrio de Analco of Durango. While he visited the Escuela Nacional Preparatoria in Mexico City, he made first contacts with the artistic and intellectual scene, and studied at the Escuela Nacional de Bellas Artes (ENBA). His family enabled him a study trip to Europe in 1904, where he visited and exhibited in Spain, France and Italy. He also visited courses at the Royal Academies for Science and the Arts of Belgium.


In 1906 he exhibited some of his pictures in the Museo del Prado, and in 1907 in an exhibition of the ENBA. He participated in the 1909 Biennale di Venezia and exhibited in the Salon at the Piazzale Donatello, Florence. In 1911 he moved to France for good, and he only returned once at the outbreak of World War I for a short time.

After 1921 his work was influenced by Cézanne and Giotto. He also painted murals at the Château de Vert-Cœur and in the Cité Internationale Universitaire de Paris, and decorated the Mexican embassy in Paris, where he also exhibited at the Salon d'Automne, as well as in New York. Concerned over the collapse of the international art market he lost his sponsors and became depressive. During World War II he returned to his home country in 1941, where he painted murals at the Club de Banqueros and at the of the Catedral de Monterrey. He died after suffering from a pneumonia.  A museum of contemporary art was named after him. More on Ángel Zárraga




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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.

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01 Works, RELIGIOUS ART - Interpretation of the Bile, With Footnotes - 99

Juan Carreño De Miranda
Saint Sebastian, c. 1656.
Oil on canvas,
171 x 113 cm.
Museo Nacional del Prado

This work is a superb example of Carreño's Venetian devotion in his early years. The general silhouette is very similar to Orrente's canvas in the Cathedral of Valencia, representing the same Saint. Probably the existence of a common source explains the close resemblance.

Carreño is based on Titian, and seems to have been directly inspired, for the way of trimming the nude over the bluish distances, in the Adam and Eve of Titian, today in the Prado, which in 1628 Rubens had copied. More on this painting


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

Juan Carreño de Miranda (25 March 1614 — 3 October 1685) was a Spanish painter of the Baroque period.


Born in Avilés in Asturias. His family moved to Madrid in 1623, where he trained in Madrid during the late 1620s as an apprentice to Pedro de las Cuevas and Bartolomé Román. He came to the notice of Velázquez for his work in the cloister of Doña María de Aragón and in the Church of Our Lady of the Rosary, La Joyosa. In 1658 Carreño was hired as an assistant on a royal commission to paint frescoes in the Alcázar of Madrid; later destroyed in a fire in 1734. In 1671. Upon the death of Sebastián de Herrera, he was appointed court painter to the queen and began to paint primarily portraits. He refused to be knighted in the order of Santiago, saying Painting needs no honors. 


Noble by descent, he had an understanding of the workings and psychology of the royal court as no painter before him, making his portraits of the Spanish royal family in an unprecedented documentary fashion. More on Juan Carreño de Miranda


Please visit my other blogs: Art CollectorMythologyMarine 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.

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01 Works, RELIGIOUS ART - Interpretation of the Bible! by the Old Masters, With Footnotes - 94

Attributed to Jean Mosnier, BLOIS 1600 - 1656
SAINT SEBASTIAN
oil on canvas
46 by 35 7/8  in.; 116.8 by 91.1 cm
Private collection

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

Jean Monier (or Mosnier; 1600–1656)  was a French painter who trained with his father, a glass painter. A native of Blois, Mosnier was there when Marie de' Medici was in exile, and she commissioned works from him. She was pleased with his talent, and paid to have him go to Italy to further develop as an artist. In Italy, he studied with Cristofano Allori, Lodovico Cigoli and Domenico Passignano, and was inspired by painters such as Raphael. As a result, his works had an Italian influence.


Upon his return from Italy, Marie de' Medici continued to commission him. He soon became one of the most celebrated artists of the region, receiving further commissions from patrons in Tours, Chinon, and Chartres. More on Jean Monier
















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01 Works, RELIGIOUS ART - Interpretation of the Bible!, With Footnotes - 96

Paul La Tarte, DIED 1636 PONT-À-MOUSSON
SAINT IRENE CRADLING THE HEAD OF SAINT SEBASTIAN
oil on canvas
24 3/4  by 22 in.; 63 by 55.8 cm.
Private collection

The subject of the present painting is taken from the legend of the saint and martyr Sebastian, who, after being discovered as a Christian by the Emperor Diocletian, was ordered to be shot by arrows and left for dead.  The widow Irene nursed him back to health and with renewed faith in Christ he again confronted the Emperor.  Though more common depictions of Sebastian show him having been shot with arrows, tied to a tree or column, La Tarte chose to paint a more tender part of the story, when Irene was nursing him back to health.  Interestingly, one of the most famous depictions of Irene tending to Saint Sebastian is by La Tarte's fellow Lorrainian Georges de la Tour. More on this painting

Irene of Rome was the widow of the martyr St. Castulus. After the death of her husband, she continued to be active in the Christian community in Rome. According to legend, when Saint Sebastian was discovered to be a Christian, in 286, he was handed over to the Mauretanian archers, who tied him to a tree and pierced him with arrows.

However, Irene came to bury the body and found that he was not quite dead. Irene took him to her lodgings and nursed him back to health. Irene is venerated by Christians for her virtuous care in attending the injured. More on Irene of Rome

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

Paul La Tarte. Very little is known about La Tarte's life.  He died in 1636 in Pont-à-Mousson in Lorraine and his name appears in a number of old collection inventories from the area. Lorraine produced a number of important artists in the early 17th century, including Jacques Callot (1592-1635), Claude Lorrain (1600-1682), and Georges de la Tour (1593-1652).  While most of these artists spent time in Rome, it is unclear whether La Tarte ever traveled to Italy.  He certainly, however, was aware of the Caravaggist style that spread beyond Rome after the painter's death in 1610. More on Paul La Tarte













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01 Works, RELIGIOUS ART - CONTEMPORARY & 20th Century Interpretation of the Bible! With Footnotes - 18

Julian Schnabel, Born in 1951, 1975–1979.
St. Sebastian
Oil, wax, modelling paste on canvas
281.9 x 167.6 cm
Oko Gallery

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

Julian Schnabel (born October 26, 1951) is an American painter and filmmaker. In the 1980s, Schnabel received international media attention for his large-scale paintings set on broken ceramic plates.

Schnabel directed Before Night Falls, which became Javier Bardem's breakthrough Academy Award-nominated role, and The Diving Bell and the Butterfly, which was nominated for four Academy Awards.

He has won the award for best director at the 2007 Cannes Film Festival, a Golden Globe, as well as BAFTA, a César Award, two nominations for the Golden Lion and an Academy Award nomination.

Born in Brooklyn, New York, he moved with his family to Brownsville, Texas in 1965.

Schnabel's style is characterised by very large scale paintings. He uses diverse materials such as plaster, wax, photographs, antlers, velvet and ceramics. His paintings make use of canvas, wood, muslin and even surfboards. His paintings often combine abstract and figurative elements. Due to the size, weight and depth of his works, they are often given sculptural properties. More on Julian Schnabel













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