Niccolò di Pietro Gerini, The Crucifixion, c. 1390 01 Paintings, RELIGIOUS ART – Interpretations of the Bible! by The Old Masters, With Footnotes # 57a

Niccolò di Pietro Gerini

The Crucifixion, c. 1390

Tempera on panel

70 cm × w 43 cm

Rijksmuseum

The crucifixion, against a golden background. The cross mountain with soldiers on horseback with swirling banners between the crosses. In the forefront of Mary, Mary Magdalene, John and others. This crowded Crucifixion was probably intended as an independent panel for private devotion in a domestic setting. More on this painting

Niccolò di Pietro Gerini (c. 1340 – 1414) was an Italian painter of the late Gothic period, active mainly in his native Florence. He was not an innovative painter but relied on traditional compositions in which he placed his figures in a stiff and dramatic movement.

In 1368, Niccolò Dipintore is identified as a member of the Arte dei Medici e Speziali Guild, in Florence.

As is typical for Gothic depictions, Gerini’s figures have large chins, sloping foreheads, and sharp noses whilst their bodies are squat and frontally displaced.

Gerini collaborated with Jacopo di Cione on a Coronation of the Virgin (Accademia, Florence) in 1372. It was commissioned by the mint of Florence Zecca Vecchia that same year. In 1383 Gerini again worked with Cione on a fresco of the Annunciation in the Palazzo dei Priori, Volterra. This fresco clearly shows the work of two very different artists: Niccolò di Pietro Gerini (design and very fine painting) and Jacopo di Cione (broadly painted saints and side decoration).

Between 1391 and 1392 he worked in Prato where he frescoed Palazzo Datini and the Church of San Francesco with Lorenzo di Niccolò and Agnolo Gaddi. He also frescoed the capitals of the church of San Francesco, Pisa. More Niccolò di Pietro Gerini


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Massimo Stanzione, Madonna and Child 01 Works, RELIGIOUS ART – Interpretation of the Bible! by the Old Masters, With Footnotes – 94

Massimo Stanzione, (ca. 1586 – ca. 1656)

Madonna and Child

Oil on canvas

49 3/4  by 39 3/8  in.; 126.4 by 100 cm.

Private collection

The Madonna and Child or The Virgin and Child is often the name of a work of art which shows the Virgin Mary and the Child Jesus. The word Madonna means “My Lady” in Italian. Artworks of the Christ Child and his mother Mary are part of the Roman Catholic tradition in many parts of the world including Italy, Spain, Portugal, France, South America and the Philippines. Paintings known as icons are also an important tradition of the Orthodox Church and often show the Mary and the Christ Child. They are found particularly in Eastern Europe, Russia, Egypt, the Middle East and India. More on The Madonna and Child

Massimo Stanzione (ca. 1586 – ca. 1656) was one of the leading painters in Naples in the 17th century, producing numerous altarpieces and frescoes. His rich colours and idealised naturalism influenced a great number of students and imitators. This is a copy of a large altarpiece that he painted for the Carthusian monks in the church of Certosa di S. Martino in Naples: Stanzione included Carthusian monks mourning the dead Christ. This copy may date from the 18th century. More on Massimo Stanzione

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William Edward Webb, View of a Harbor 01 Classic Works of Art, Marine Paintings – With Footnotes, #109

William Edward Webb, English, 1862-1903 

View of a Harbor 

Oil on canvas 

22 x 38 inches (56 x 96.5 cm) 

Private collection

William Edward Webb (British, 1862-1903). A permanent resident of Manchester, he widely frequented the coasts and ports of Great Britain, producing an impressive output of active scenes celebrating the challenges faced by those who plied their trades on the open ocean.

Webb exhibited more than 60 paintings from 1890 to 1904, mostly in his hometown, but also with the Walker Art Gallery in Liverpool and three times with the Royal Academy in London. Greater commercial recognition came to Webb posthumously partially through the efforts of author Denys Brook-Hart, who saw what he identified as the extreme first-hand excellence of the artist.

Webb’s art is celebratory in spirit while it offers no false glamour of the hard lives faced by working sailors and fishermen in the 19th century. His seas are vibrant and active, his atmospheric light exceedingly realistic of the heavy skies of the British Isles, and his portrayals of the local people artistically insightful. More William Edward Webb

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ROMAN SCHOOL, EARLY SEVENTEENTH CENTURY, The Giant Orion 01 Paintings, Olympian deities, by the Old Masters, with footnotes # 20

ROMAN SCHOOL, EARLY SEVENTEENTH CENTURY

The Giant Orion

Oil on canvas

50 5/8  by 39 1/2  in.; 128.6 by 100.3 cm. 

In Greek mythology, Orion was a giant huntsman whom Zeus placed among the stars as the constellation of Orion.


In Greek literature he first appears as a great hunter in Homer’s epic the Odyssey, where Odysseus sees his shade in the underworld. The bare bones of Orion’s story are told by the Hellenistic and Roman collectors of myths, but there is no extant literary version of his adventures comparable, for example, to that of Jason in Apollonius of Rhodes’.

Orion served several roles in ancient Greek culture. The story of the adventures of Orion, the hunter, is the one on which we have the most evidence; he is also the personification of the constellation of the same name; he was venerated as a hero, in the Greek sense, in the region of Boeotia; and there is one etiological passage which says that Orion was responsible for the present shape of the Strait of Sicily.


The legend of Orion was first told in full in a lost work by Hesiod. According to this version, Orion was likely the son of the sea-god Poseidon and Euryale, daughter of Minos, King of Crete. Orion could walk on the waves because of his father; he walked to the island of Chios where he got drunk and attacked Merope, daughter of Oenopion, the ruler there. In vengeance, Oenopion blinded Orion and drove him away. Orion stumbled to Lemnos where Hephaestus told his servant, Cedalion, to guide Orion to the uttermost East where Helios, the Sun, healed him. Orion returned to Chios to punish Oenopion, but the king hid away underground and escaped Orion’s wrath. Orion’s next journey took him to Crete where he hunted with the goddess Artemis and her mother Leto, and in the course of the hunt, threatened to kill every beast on Earth. Mother Earth objected and sent a giant scorpion to kill Orion. The creature succeeded, and after his death, the goddesses asked Zeus to place Orion among the constellations. Zeus consented and, as a memorial to the hero’s death, added the Scorpion to the heavens as well  More on Orion 

Roman School, 17th Century. Both Michelangelo and Raphael worked in Rome, making it the centre of High Renaissance; in the 17th century it was the centre of the Baroque movement represented by Bernini and Pietro da Cortona. From the 17th century the presence of classical remains drew artists from all over Europe including Poussin, Claude Lorrain, Piranesi, Pannini and Mengs.

In the 17th century Italian art was diffused mainly from Rome, the indisputable centre of the Baroque.

Roman Mannerism, spread abroad by the prolific work of Federico and Taddeo Zuccari, was continued by Roncalli, called Pomarancio and especially by Giuseppe Cesari, called Cavaliere d’Arpino, whose reputation was immense. The reaction against Mannerism engendered two different movements, which were sometimes linked together: one was realist with Caravaggio, the other eclectic and decorative with the Carracci.

Caravaggio brought about the greatest pictorial revolution of the century. His imposing compositions, deliberately simplified, are remarkable for their rigorous sense of reality and for the contrasting light falling from one side that accentuates the volumes. He changed from small paintings of genre and still-life, clear in light and cool in colour, to harsh realism, strongly modelled volumes and dramatic light and shade. His work, like his life, caused much scandal and excited international admiration.

Among the Italian disciples of Caravaggio Carlo Saraceni was the only direct Venetian follower. Bartolomeo Manfredi imitated Caravaggio’s genre paintings; Orazio Gentileschi and his daughter Artemisia Gentileschi showed a marked realism. Caravaggio’s biographer and enemy, Giovanni Baglione underwent his influence. More Roman School, 17th Century



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Magnus Gjoen, BREAK GLASS FOR A NEW BEGINNING (ADAM & EVE) 01 Works, RELIGIOUS ART – CONTEMPORARY & 20th C. Interpretation of the Bible! With Footnotes – 20

Magnus Gjoen, United Kingdom

BREAK GLASS FOR A NEW BEGINNING (ADAM & EVE)

Printmaking

49.2 H x 35.4 W x 0.1 in

The viewer is confronted with a choice; if they could choose again, would they break the glass and let history take its path or would they rather not subject the world to religion and wars it has created. 

Magnus Gjoen was born in London to Norwegian parents. He grew up in Switzerland, Denmark, Italy as well as in the UK. As a contemporary artist Gjoen has exhibited worldwide and questions the notions of beauty by juxtaposing a range of styles and media, incorporating a street and pop aesthetic with a fine art approach. His pieces draw on history and allusion, using existing artworks or fragments from the past to create his own, contemporary aesthetic.  Describing himself as an ‘accidental’ artist, Gjoen studied fine art and fashion design which led to a successful career in fashion, working for brands such as Vivienne Westwood. 

Gjoen’s art offers a modern spin on old masterpieces or manipulates powerful and strong objects into something fragile yet beautiful. By blending two genres from completely different worlds, his art is about rediscovery, taking things from the past and renewing them for the contemporary market. Breathing fresh air into dusty old paintings found in the far corners of a museum or lending a sense of beauty and grace to typically powerful, even dangerous objects, Magnus Gjoen’s work invites a second look. It’s this ability to engage with the viewer and get them questioning, challenging and thinking that makes him a promising and successful young artist in the contemporary art world. More on Magnus Gjoen

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Amos Sewell, Peg-legged Captain 01 Classic Works of Art, Marine Paintings – With Footnotes, #103

Amos Sewell (American, 1901-1983)

Peg-legged Captain

Oil on board

32 x 24 in. (sight)

Amos F. Sewell, (1901-1983), was born in Oakland, California. By 1921 he had a job as a bank clerk and he studied night classes at the California School of Fine Arts. In his spare time he drew unsolicited interior story illustrations and mailed them to pulp publishers. He sold his first drawings to Street & Smith.


After the financial crisis of 1929 Amos Sewell lost his job at the bank. In June of 1930 he shipped out of San Francisco on a lumber boat and traveled through the Panama Canal.


He arrived in New York City and visited Street & Smith in person in search of freelance illustration work. He drew dry brush interior story illustrations for many issues of Clues. He also found work drawing for Popular Publication’s Horror Stories, and Terror Tales.


He studied at The Grand Central School of Art with Harvey Dunn.


In 1936 he moved to Westport, Connecticut.


In 1937 he began to get assignments from slick magazines such as Country Gentleman, and later for The Saturday Evening Post, for which he illustrated an ongoing series of stories by R.R. Annett that ran for over twenty years.


In the 1950s Sewell was busy doing advertising work for major advertisers.

Amos Sewell died in Norwalk Hospital at the age of eighty-two on October 30, 1983. More on Amos Sewell 

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Claude Monet, The Museum at Le Havre, 1873 01 Classic Works of Art, Marine Paintings – With Footnotes, #108

Claude Monet 

The Museum at Le Havre, 1873

Oil on canvas

75 x 100 cm

The National Gallery, London, UK

This is an important work which dates from a key period in the artist’s career. In the early 1870s Monet lived mainly at Argenteuil but made frequent trips to his home town, Le Havre, on the Normandy coast.

In 1872 and 1873 he painted several views of the harbour at Le Havre including his famous ‘Impression: Sunrise’ (Paris, Musée Marmottan), the picture which provoked the term ‘Impressionism’. The view here is taken from one of the walls of the inner harbour looking across to the Musée des Beaux-Arts. The museum was destroyed during the Second World War and has since been replaced by a modern structure. More on The Museum at Le Havre

Oscar-Claude Monet (14 November 1840 – 5 December 1926) was a founder of French Impressionist painting, and the most consistent and prolific practitioner of the movement’s philosophy of expressing one’s perceptions before nature, especially as applied to plein-air landscape painting. The term “Impressionism” is derived from the title of his painting Impression, soleil levant (Impression, Sunrise), which was exhibited in 1874 in the first of the independent exhibitions mounted by Monet and his associates as an alternative to the Salon de Paris.

Monet’s ambition of documenting the French countryside led him to adopt a method of painting the same scene many times in order to capture the changing of light and the passing of the seasons. From 1883 Monet lived in Giverny, where he purchased a house and property and began a vast landscaping project which included lily ponds that would become the subjects of his best-known works. In 1899 he began painting the water lilies, first in vertical views with a Japanese bridge as a central feature, and later in the series of large-scale paintings that was to occupy him continuously for the next 20 years of his life. More Oscar-Claude Monet

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