14 Paintings, RELIGIOUS ART – Interpretation of the Bible! by The Old Masters, With Footnotes # 44

After BARTOLOMÉ ESTEBÁN MURILLO, (Spanish 1618-1682)

The Virgin and Child 

Oil on canvas

44.5 inches x 30.5 inches (113 x 77.5 cm)

Private Collection

Bartolomé Esteban Murillo (born late December 1617, baptized January 1, 1618 – April 3, 1682) was a Spanish Baroque painter. Although he is best known for his religious works, Murillo also produced a considerable number of paintings of contemporary women and children. His lively, realist portraits of flower girls, street urchins, and beggars constitute an extensive and appealing record of the everyday life of his times. More

 

Milanese School, 16th Century, SALVATOR MUNDI

Penitent Magdalen (?)

Oil on panel

18 3/4  by 14 3/8  in.; 47.5 by 36.5 cm

Private Collection

This depiction represent the Penitent Magdalen, who according to medieval legend had spent a period of repentance as a desert hermit after leaving her life as a follower of Jesus. Her story became conflated in the West with that of Saint Mary of Egypt, a 4th-century prostitute turned hermit, whose clothes wore out and fell off in the desert. She often wears only a drape pulled around her, or an undergarment. Her most common attribute is the alabaster jar from which she anointed Jesus. With her right hand the sign of benediction.  More 

Mary Magdalene was a Jewish woman who, according to texts included in the New Testament, traveled with Jesus as one of his followers. She is said to have witnessed Jesus’ crucifixion and resurrection. Based on texts of the early Christian era in the third century, it seems that her status as an “apostle” rivals even Peter’s.

She is most prominent in the narrative of the crucifixion of Jesus, at which she was present. She was also present two days later, either alone or as a member of a group of women, the first to testify to the resurrection of Jesus.

Ideas that go beyond the gospel presentation of Mary Magdalene as a prominent representative of the women who followed Jesus have been put forward over the centuries.

During the Middle Ages, Mary Magdalene was regarded in Western Christianity as a repentant prostitute or promiscuous woman, claims not found in any of the four canonical gospels. More Mary Magdalene

School of Milan, Milanese School. In the 15th and early part of the 16th century Milan had one of the most important schools in Italy. Its first member of any note was Vincenzo Foppa, who was painting in 1457 and was the founder of the early school. 

Ambrogio Borgognone (born c. 1455) was an artist of great merit and strong religious sentiment. He followed in the footsteps of Foppa, and his pictures are remarkable for the calm beauty of the faces, and for their delicate colour, which recalls the manner of Piero della Francesca. More Milanese School

Studio of Simone Pignoni, FLORENCE 1611 – 1698

THE PENITENT MAGDALENE

Oil on canvas

26 1/8  by 19 1/4  in.; 66.2 by 48.7 cm.

Private Collection

Simone Pignoni (April 17, 1611 – December 16, 1698) was an Italian painter of the Baroque period. He is best known for painting in a style reminiscent of the morbidly sensual Furini. Reflective of this obsession is his self-portrait, c. 1650, in which he depicts himself building up a plump naked female from a skeleton. The biographer Baldinucci, in what little he notes of the painter, recalls him as the scandalous “imitator of (Furini’s) licentious inventions”.

Among his more conventional works are a St. Agatha cured by St. Peter (attributed) in the Museo Civico di Trieste; a St. Louis providing a banquet for the poor (c. 1682) now in the church of Santa Felicita in Florence, commissioned by Conte Luigi Gucciardini; and a Madonna and child in glory with archangels Saints Michael and Raphael in battle armor and San Antonio of Padua (1671) for the Cappella di San Michele in Santissima Annunziata. He painted an Allegory of Peace in Palazzo Vecchio. A Penitent Magdalen that has been attributed to Pignoni is found in the Pitti Palace. In San Bartolomeo in Monteoliveto, he painted a Madonna appearing to Blessed Bernardo Tolomeo. More Simone Pignoni

François-Léon Comerre, TRÉLON 1850 – 1916 PARIS

Le manteau legendaire 

Oil on canvas 

64,5 x 92,5 cm; 25 3/8 by 36 3/8 in

Private Collection

The composition is inspired by the poem Le manteau legendaire by Emmanuel Duclos. After Joseph had been sold to merchants by his brothers, he was bought by the Egyptian Putiphar, who was then the equivalent of the minister of justice of Pharaoh. Treated as an equal by his master, while he was the slave, Joseph had a certain affection for Putiphar. His wife, Zulikha, had fallen in love with the young man, renowned for his beauty. She made several advances to him, which the young slave never ceased to reject. One day when they were alone, Zulikha approached Joseph and grabbed his tunic. He walked away, tearing the clothes. Raging with rage, Putiphar’s wife cried out that Joseph had tried to take advantage of her, And used the piece of cloth as proof of aggression. When he heard this story, Putiphar had Joseph thrown into prison. 

Leon Comerre chooses the moment when the wife of Putiphar holds the tunic of Joseph in his hands, his eyes expressing both his spite and his determination. She presents herself to us like a feline, ready to condemn the man who attracted her to punish her for not falling under her spell. More Le manteau legendaire

François-Léon Comerre, TRÉLON 1850 – 1916 PARIS

Study For Le Manteau Legendaire

Oil on canvas

74.3 × 115.6 cm (29.3 × 45.5 in)

Private Collection

François-Léon Comerre, TRÉLON 1850 – 1916 PARIS

Study For Le Manteau Legendaire

Oil on canvas

74.3 × 115.6 cm (29.3 × 45.5 in)

Private Collection

François-Léon Comerre, TRÉLON 1850 – 1916 PARIS) was a French academic painter, famous for his portraits of beautiful women. Comerre was born in Trélon, in the Département du Nord, the son of a schoolteacher. He moved to Lille with his family in 1853. From an early age he showed an interest in art and became a student of Alphonse Colas at the École des Beaux-Arts in Lille, winning a gold medal in 1867. From 1868 a grant from the Département du Nord allowed him to continue his studies in Paris at the famous École nationale supérieure des Beaux-Arts in the studio of Alexandre Cabanel. There he came under the influence of orientalism.

Comerre first exhibited at the Paris Salon in 1871 and went on to win prizes in 1875 and 1881. In 1875 he won the Grand Prix de Rome. This led to a scholarship at the French Academy in Rome from January 1876 to December 1879. In 1885 he won a prize at the “Exposition Universelle” in Antwerp. He also won prestigious art prizes in the USA (1876) and Australia (1881 and 1897). He became a Knight of the Legion of Honour in 1903. More Léon Comerre

BRUGES SCHOOL CIRCA XVITH CENTURY, CIRCLE OF GÉRARD DAVID; 

SAINT JOSEPH PREPARING THE MILK SOUP 

Oil on panel, fragment 

23.5 x 16.5 cm; 9 1/4 by 6 1/2 in

Private Collection

According to legend, there was famine in Sicily and the villagers prayed to Saint Joseph for help. Their prayers were answered and the end of the famine was celebrated with a special feast in his honor. This celebration became tradition, and each year thereafter, the wealthier families would prepare a huge buffet (also known as the St. Joseph’s Table) for those less fortunate to enjoy. Although not widely recognized in the United States, it has greater significance in Italy, Spain and Portugal, as it’s also Father’s Day. More 

DAVID, Gerard, (b. ca. 1460, Oudewater, d. 1523, Bruges), Flemish painter who was the last great master of the Bruges school. David went to Bruges, presumably from Haarlem, where he is supposed to have formed his early style under the instruction of Albert van Ouwater; he joined the guild of St Luke at Bruges in 1484 and became dean in 1501.

 In his early work he followed the Haarlem tradition as represented by Ouwater and Geertgen tot Sint Jans but already shown evidence of his superiority as a colourist. But the works on which David’s fame rests most securely are his great altarpieces. These are mature works – severe yet richly coloured, showing a masterful handling of light, volume, and space. The Judgment panels are especially notable for being among the earliest Flemish paintings to employ such Italian Renaissance devices as putti and garlands. In Antwerp David became impressed by the life and movement in the work of Quentin Massys, who had introduced a more intimate and more human conception of sacred themes. More

 

Benjamin West, P.R.A., SWARTHMORE 1738 – 1820 LONDON

THE WISE MEN’S OFFERING

Oil on canvas

27 by 22 in.; 68.5 by 56 cm.

Private Collection

Traditional nativity scenes depict three “kings” visiting the infant Jesus on the night of his birth, in a manger accompanied by the shepherds and angels, but this should be understood as an artistic convention allowing the two separate scenes of the Adoration of the Shepherds on the birth night and the later Adoration of the Magi to be combined for convenience

Benjamin West PRA (October 10, 1738 – March 11, 1820) was an Anglo-American painter of historical scenes around and after the time of the American War of Independence and the Seven Years’ War. He was the second president of the Royal Academy in London, serving from 1792 to 1805 and 1806 to 1820. He was offered a knighthood by the British Crown, but declined it, believing that he should instead be made a peer. He said that “Art is the representation of human beauty, ideally perfect in design, graceful and noble in attitude. More Benjamin West

 

Utrecht School, circa 1630

ADAM AND EVE

oil on unlined canvas

overall, with added strip: 47 by 35 1/2  in.; 119.4 by 90.2 cm.

without addition: 43 7/8  by 35 1/2  in.; 111.5 by 90.2 cm.

Utrecht school, principally a group of three Dutch painters—Dirck van Baburen (c. 1590–1624), Gerrit van Honthorst (1590–1656), and Hendrik Terbrugghen (1588–1629)—who went to Rome and fell fully under the pervasive influence of Caravaggio’s art before returning to Utrecht. Although none of them ever actually met Caravaggio, each had access to his paintings, knew his former patrons, and was influenced by the work of his follower Bartholomeo Manfredi, especially his half-length figural groups, which were boldly derived from Caravaggio and occasionally passed off as the deceased master’s works.

Back in the Netherlands the “Caravaggisti” were eager to demonstrate what they had learned. Their subjects are frequently religious ones, but brothel scenes and pictures in sets, such as five works devoted to the senses, were popular with them also. The numerous candles, lanterns, and other sources of artificial light are characteristic and further underscore the indebtedness to Caravaggio.

Although Honthorst enjoyed the widest reputation at the time, painting at both the Dutch and English courts, Terbrugghen is generally regarded as the most talented and versatile of the group. More Utrecht school

Master Johannes

ACTIVE IN THE BRABANT AT THE BEGINNING OF THE XVI CENTURY

SAINT JEAN-BAPTISTE SAINTE AGNÈS 

Oil on panel, one pair 

Shutters of triptych, one parqueted 

69 x 23,5 cm; 27 1/8 by 9 1/4 in

Private Collection

Master Johannes. A beginning to the identity of this painter was very recently revealed. It was by the discovery of an act of payment of the altarpiece, today in the church Maria-ter-Heide, to a certain painter “Johannes” in the year 1513, the artist of these five works 3 . His surname, his hometown, his dates of birth and death remain mysteries. More Master Johannes

Flemish School, 17th Century

A KITCHEN IN A CONVENT

Oil on panel

24 3/4  by 33 1/4  in.; 62.5 by 84.5 cm

Private Collection

Flemish School, 17th Century

ADAM AND EVE

oil on panel, unframed

16 by 19 in.; 40.7 by 48.4 cm.

Private Collection

Circle of JACOB WILLEMSZ DE WET, (Dutch 1610-1672)

Volumnia Before Coriolanus 

Oil on canvas

Unsigned

27.8 inches x 35.8 inches (70.5 x 91 cm)

Private Collection

Volumnia is a character in William Shakespeare’s play Coriolanus, the mother of Caius Martius Coriolanus. She plays a large role in Coriolanus’ life, encouraging him in his military success and urging him to seek political office. When the people of Rome put her son in exile and he joins their military enemies, she manages to persuade him not to besiege Rome and becomes a heroine to the city.

Jacob Willemszoon de Wet or Jacob Willemsz. de Wet the Elder (c. 1610 – between 1675 and 1691) was a Dutch Golden Age painter, whose works were largely influenced by Rembrandt. De Wet was born and died in Haarlem. Little is known of his early life. Houbraken mentions him in passing as an art dealer of Haarlem in his biographical sketch of Philips Wouwerman, referring to him as Jan de Wet. 

De Wet left a notebook that mentions a total of 34 pupils, most famously Paulus Potter. Other notable pupils were Job Adriaensz Berckheyde, Adriaen Jansz Kraen, Johann Philip Lemke, Jan Vermeer van Haarlem I (not to be confused with Vermeer of Delft), Jacob de Wet II, and Kort Withold. He became a member of the Haarlem Guild of St. Luke in 1632. Judging from the number of pupils, and the difficulties his son Jacob II had with launching an independent career, it seems that De Wet had a large and successful practise in Haarlem. His son Jacob II was the only one of 5 children who also became a painter. More

Circle of JOSEPH VON FUHRICH, (Austrian 1800-1876)

The Crucifixion – circa 1850

Oil on canvas

54.25 inches x 31 inches (137.9 x 79 cm)

Private Collection

Joseph von Führich [or Josef Ritter von Führich] (February 9, 1800 – March 13, 1876) was an Austrian painter, one of the Nazarenes. He was born in Bohemia. Deeply impressed as a boy by rustic pictures adorning the wayside chapels of his native country, his first attempt at composition was a sketch of the Nativity for the festival of Christmas in his father’s house. He lived to see the day when, becoming celebrated as a composer of scriptural episodes, his sacred subjects were transferred in numberless repetitions to the roadside churches of the Austrian state, where peasants thus learnt to admire modern art reviving the models of earlier ages.

Essentially creative as a landscape draughtsman, he had no feeling for colour; and when he produced monumental pictures he was not nearly so successful as when designing subjects for woodcuts. Führich’s fame extended far beyond the Austrian capital. In 1831 he finished the “Triumph of Christ”, later in the Raczynski palace at Berlin. In 1834 he was made custos and in 1841 professor of composition in the Academy of Vienna. More

Acknowledgement: Sotheby’s  Jackson’s International Auctioneers and Appraisersand others

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Author: zaidangallery

I search Art History for Beautiful works that may, or may not, have a secondary or unexpected story to tell. I then write short summaries that grow from my research. Art work is so much more when its secrets are exposed

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