Byam Shaw, (1872–1919)
Jezebel, c. 19th century
Russell-Cote Art Gallery and Museum, Bournemouth, England
Jezebel, see below
John Byam Liston Shaw (13 November 1872 – 26 January 1919), commonly known as Byam Shaw, was a British painter, illustrator, designer and teacher. Born in Madras, Byam Shaw's father John was the registrar of the High Court at Madras. The family returned to England in 1878. Baymam showed early artistic promise, and in 1887 he entered the St John's Wood Art School. From 1890, Shaw studied at the Royal Academy Schools where he won the Armitage Prize in 1892.
Throughout his career Byam Shaw worked competently in a wide variety of media including oils, watercolour, pastels, pen and ink and deployed techniques such as dyeing and gilding. He was influenced by the Pre-Raphaelites and took many of his subjects from the poems of Rossetti.
Later in his life his popularity as an artist waned,and he turned to teaching for his living, and in 1910, with Rex Vicat Cole, he founded the Byam Shaw and Vicat Cole School of Art later renamed simply the "Byam Shaw School of Art". More Byam Shaw
THE XVII CENTURY ARTIST
Queen Jezebel eaten by dogs.
Oil on canvas
101.00 x 83.00 cm
Private collection
Jezebel (fl. 9th century BCE) was a queen, identified in the Book of Kings as the daughter of Ithobaal I of Sidon and the wife of Ahab, King of Israel.
According to the Hebrew Bible, Jezebel incited her husband King Ahab to abandon the worship of Yahweh and encourage worship of the deities Baal and Asherah instead. Jezebel persecuted the prophets of Yahweh, and fabricated evidence of blasphemy against an innocent landowner who refused to sell his property to King Ahab, causing the landowner to be put to death. For these transgressions against the God and people of Israel, Jezebel met a gruesome death – thrown out of a window by members of her own court retinue, and the flesh of her corpse eaten by stray dogs.
Jezebel became associated with false prophets. In some interpretations, her dressing in finery and putting on makeup led to the association of the use of cosmetics with "painted women" or prostitutes. More Jezebel
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. More Painting in 17th-century
Solimena FRANCESCO, (1657 - 1747)
Our Lady of the Rosary
Oil on canvas
98.00 x 128.00 cm
Private collection
Our Lady of the Rosary, also known as Our Lady of the Most Holy Rosary, is a title of the Blessed Virgin Mary in relation to the Rosary.
In 1571, Pope St. Pius V organized a coalition of forces from Spain and smaller Christian kingdoms, republics and military orders, to rescue Christian outposts in Cyprus, particularly the Venetian outpost at Famagusta. the Holy League sailed from Messina, Sicily, and met a powerful Ottoman fleet in the Battle of Lepanto. Knowing that the Christian forces were at a distinct materiel disadvantage, the holy pontiff, Pope Pius V, called for all of Europe to pray the Rosary for victory,[1][2] and led a rosary procession in Rome.
After about five hours of fighting, the combined navies of the Papal States, Venice and Spain managed to stop the Ottoman navy, slowing the Ottoman advance to the west and denying them access to the Atlantic Ocean and the Americas. Although the Ottoman Empire was able to build more ships, it never fully recovered from the loss of trained sailors and marines, and was never again the Mediterranean naval power it had become the century before when Constantinople fell. More Our Lady of the Rosary
Francesco Solimena (October 4, 1657 – April 3, 1747) was a prolific Italian painter of the Baroque era, one of an established family of painters and draughtsmen. He received early training from his father, Angelo Solimena, with whom he executed a Paradise for the cathedral of Nocera and a Vision of St. Cyril of Alexandria for the church of San Domenico at Solofra.
He settled in Naples in 1674, there he worked in the studio of Francesco di Maria and later Giacomo del Po. He apparently had taken the clerical orders, but was patronized early on, and encouraged to become an artist by Cardinal Vincenzo Orsini (later Pope Benedict XIII). By the 1680s, he had independent fresco commissions, and his active studio came to dominate Neapolitan painting from the 1690s through the first four decades of the 18th century. He modeled his art—for he was a highly conventional painter—after the Roman Baroque masters. Solimena painted many frescoes in Naples, altarpieces, celebrations of weddings and courtly occasions, mythological subjects, characteristically chosen for their theatrical drama, and portraits. His settings are suggested with a few details—steps, archways, balustrades, columns—concentrating attention on figures and their draperies, caught in pools and shafts of light. Art historians take pleasure in identifying the models he imitated or adapted in his compositions. His numerous preparatory drawings often mix media, combining pen-and-ink, chalk and watercolor washes. More on Francesco Solimena
DE Pitati BONIFACIO (1487 - 1553)
King Solomon meets the Queen of Sheba.
Oil on canvas
101.00 x 83.00 cm
Private collection
The Queen of Sheba is a Biblical figure. The
tale of her visit to King Solomon has undergone extensive Jewish, Arabian and
Ethiopian elaborations, and has become the subject of one of the most
widespread and fertile cycles of legends in the Orient.
The queen of Sheba came to Jerusalem "with a
very great retinue, with camels bearing spices, and very much gold, and
precious stones"). "Never again came such an abundance of
spices" as those which she gave to Solomon. She came "to prove him
with hard questions", all of which Solomon answered to her satisfaction.
They exchanged gifts, after which she returned to her land. More
DE Pitati BONIFACIO (1487 - 1553), see below
DE Pitati BONIFACIO, (1487 - 1553)
The Finding of Moses
Oil on panel
16¼ x 28¼ in. (41.3 x 71.7 cm.)
Private collection
PHARAOH, becoming alarmed at the increasing power and numbers of the Israelites in Egypt, ordered that every male child who might be born to them should be cast into the river, and drowned. But the wife of a man named Levi felt that she could not give up her baby, and for three months she hid him.
When she could hide him no longer, she prepared a basket of rushes, and coated it with pitch, so that it would float upon the river and keep out the water. In this ark she placed her infant son, and hid the ark among the flags and bulrushes on the river-bank, and set the child's sister to watch it.
Now it happened that the daughter of Pharaoh came with her maidens to bathe in the river; and when she saw the basket she sent one of her maids to fetch it. And when she looked at the child he wept, and she had compassion for him, and said, "This is one of the Hebrews' children," she said. Then the child's sister, who was watching, came forward and said to Pharaoh's daughter, "Shall I call to thee a Hebrew woman that she may nurse the child for thee?" And when the princess said, "Go!" she, the little sister of Moses, went and called her own mother, to whom Pharaoh's daughter said, "Take this child and nurse him for me, and I will give thee thy wages." More The Finding of Moses
Bonifacio Veronese, birth name: Bonifacio de' Pitati (1487 – 19 October 1553) was an Italian Renaissance painter who was active in Venice. His work had an important influence on the younger generation of painters in Venice.
The artist was born in Verona from which his family moved to Venice around 1505. Here the young artist reputedly trained under Palma il Vecchio. He was initially a close follower of il Vecchio. He ran a large workshop in Venice, which could execute small devotional works as well as large painting projects. His early work also shows his knowledge of Giorgione and Titian
He created a large series of narrative paintings for the Palazzo dei Camerlenghi. It tool 20 years to complete the project.
His style was influenced by that of Giorgione and Titian. From the 1530s the artist introduced some figurative elements of central Italian origin derived mainly from Raphael. During those years he made a fortune in Venice. Many cassoni and furniture decorations are attributed to him. More Bonifacio Veronese
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