17 Works, January 2nd. is Piero di Cosimo’s day, her art, illustrated with footnotes #259

Cosimo Rosselli (1439–1507)
Descent from Mount Sinai, circa 1480

Height: 350 cm (11.4 ft) Width: 572 cm (18.7 ft)
Sistine Chapel

In the upper part is Moses kneeling on Mount Sinai, with a sleeping Joshua nearby: he receives the Tables of the Law from Yahweh, who appears in a luminescent cloud, surrounded by angels. In the foreground, on the left, Moses brings the Tables to the Israelites. In the background is camp of tents, with the altar of the golden calf in the middle; the Israelites, spurred by Aaron, are adoring it: the position of some of them, painted from behind, was usually used for negative characters, such as Judas Iscariot in the Last Supper. Once seeing that, Moses, in the center, gets angry and breaks the Tables on the ground. The right background depicts the punishment of the idolatrous and the receiving of the new Tables. Joshua, in the blue and yellow, appears with Moses. More on this painting

Piero di Cosimo (2 January 1462[1] — 12 April 1522), also known as Piero di Lorenzo, was an Italian painter of the Renaissance. He is most famous for the mythological and allegorical subjects he painted in the late Quattrocento; he is said to have abandoned these to return to religious subjects under the influence of Savonarola, the preacher who exercised a huge sway in Florence in the 1490s, and had a similar effect on Botticelli. The High Renaissance style of the new century had little influence on him, and he retained the straightforward realism of his figures, which combines with an often whimsical treatment of his subjects to create the distinctive mood of his works…

Please follow link for full post

23 Works, November 1st. is Cornelis Cornelisz’s day, his art, illustrated with footnotes #229

Circle Cornelis Cornelisz. van Haarlem
The Last Supper

Oil on Panel
76 x 108 cm.
Private collection

The Last Supper is based on a late 15th-century mural painting by Leonardo da Vinci in the refectory of the Convent of Santa Maria delle Grazie, Milan. It is one of the world’s most famous paintings.

The painting represents the scene of The Last Supper of Jesus with his disciples, as it is told in the Gospel of John, 13:21. Leonardo has depicted the consternation that occurred among the Twelve Disciples when Jesus announced that one of them would betray him. More on the The Last Supper

Cornelis Cornelisz. van Haarlem (1562 — Haarlem — 1638) who himself added ‘van Haarlem’ to his name, was one of the leading figures of Dutch Mannerism, together with his townsman Hendrick Goltzius and Abraham Bloemaert from Utrecht. He was born in 1562 in a well-to-do Catholic family in Haarlem, where he first studied with Pieter Pietersz. At the age of seventeen he went to France, but at Rouen he had to turn back to avoid an outbreak of the plague and went instead to Antwerp, where he remained for a year with Gilles Coignet…

Please follow link for full post

19 Works, September 19th. is William Dyce”s day, his story, illustrated with footnotes #206

William Dyce, 1806-1864
King Joash Shooting “the Arrow of Deliverance”

Oil on canvas
76.3 x 109.5 cms | 30 x 43 ins
Kunsthalle, Hamburg

Elisha’s Final Prophecy: …16Then Elisha said to the king of Israel, “Put your hand on the bow.” So the king put his hand on the bow, and Elisha put his hands on the king’s hands. 17“Open the east window,” said Elisha. So he opened it and Elisha said, “Shoot!” So he shot. And Elisha declared: “This is the LORD’s arrow of victory, the arrow of victory over Aram, for you shall strike the Arameans in Aphek until you have put an end to them.” 18Then Elisha said, “Take the arrows!” So he took them, and Elisha said to the king of Israel, “Strike the ground!” So he struck the ground three times and stopped.… More on the Arrow of Deliverance

William Dyce FRSE RSA RA (19 September 1806 in Aberdeen — 14 February 1864) was a Scottish painter, who played a part in the formation of public art education in the United Kingdom, and the South Kensington Schools system. Dyce was associated with the Pre-Raphaelite Brotherhood and played a part in their early popularity

Please follow link for full post

17 Works, June 23rd. is John Reinhard Weguelin’s day, his story, illustrated with footnotes #170

John Reinhard Weguelin, R.W.S. (1849-1927)
A nude seated on the shore, c. 1888

Oil on canvas
10 x 20¼ in. (25.4 x 51.4 cm.)
Private collection

John Reinhard Weguelin RWS ROI (23 June 1849–28 April 1927) was an English painter and illustrator, active from 1877 to after 1910.

He specialized in figurative paintings with lush backgrounds, typically landscapes or garden scenes. Weguelin emulated the neo-classical style of Edward Poynter and Lawrence Alma-Tadema, painting subjects inspired by classical antiquity and mythology. He depicted scenes of everyday life in ancient Greece and Rome, as well as mythological subjects, with an emphasis on pastoral scenes. Weguelin also drew on folklore for inspiration, and painted numerous images of nymphs and mermaids…

Please follow link for full post

16 Works, Today, June 6th. is Diego Velázquez’s day, his story, illustrated with footnotes #155

Velázquez, Diego Rodríguez de Silva y
The Spinners, or the Fable of Arachne, c. 1655 – 1660

Oil on canvas
Height: 220 cm.; Width: 289 cm.
Museo del Prado, Madrid

Traditionally, it was believed that the painting depicted women workers in the tapestry workshop of Santa Isabel. In 1948, however, Diego Angula observed that the iconography suggested Ovid’s Fable of Arachne, the story of the mortal Arachne who dared to challenge the goddess Athena to a weaving competition and, on winning the contest, was turned into a spider by the jealous goddess. This is now generally accepted as the correct interpretation of the painting. More on this painting

The talented mortal Arachne, daughter of Idmon, challenged Athena, goddess of wisdom and crafts, to a weaving contest. When Athena could find no flaws in the tapestry Arachne had woven for the contest, the goddess became enraged and beat the girl with her shuttle. After Arachne hanged herself out of shame, she was transformed into a spider. The myth both provides an aetiology of spiders’ web-spinning abilities and is a cautionary tale warning mortals not to place themselves on an equal level with the gods. More on Arachne

Diego Rodríguez de Silva y Velázquez (baptized June 6, 1599 — August 6, 1660) was a 17th-century Spanish painter who produced “Las Meninas” (See below) and many renowned portraits as a member of King Philip IV’s royal court…

Please follow link for full post

07 works, Today, October 7th, is Saints Sergius and Bacchus’ day, their story illustrated #279

Unknown artist
Saints Sergius and Bacchus

Oriental icon
I have no further description, at this time

Saints Sergius and Bacchus were fourth-century Roman Christian soldiers revered as martyrs and military saints by the Catholic, Eastern Orthodox and Oriental Orthodox Churches…

Please follow link for full post

LOO, JACOB VAN, The education of Bacchus 01 Paintings, PORTRAIT OF A LADY, from the 18th & 19th C., with Footnotes. #3a


LOO, JACOB VAN, (Sluis 1614 – 1670 Paris) 

The education of Bacchus

Oil on canvas.

72 x 66 cm.

Private collection

The small Bacchus is depicted in the arms of the nymphs on Mount Nysa. Born from the marriage between the royal daughter Sémélé and the god Jupiter, he was taken over by Mercury for protection from the jealous Jupiter’s wife Juno, in the care of the nymphs. Here the moment is shown, in which Mercury, with his pointing finger, instructs the nymphs about the education of the divine Son. The pyramidal arrangement of the composition, which is opposed to the curves of the figures and their vestments, gives rise to a very balanced appearance. More about the education of Bacchus

The education of Bacchus dates back to 1655, when Jacob van Loo stayed in Amsterdam and turned away from monumental formats to devote himself to smaller paintings with mythological themes and compact compositions

Jacob van Loo (1614 – 26 November 1670) was a painter of the Dutch Golden Age, chiefly active in Amsterdam and, after 1660, in Paris. Van Loo is known for his conversational groupings; particularly his mythological and biblical scenes generally attributed to the genre of History painting. He was especially celebrated for the quality of his nudes to the extent that, during his lifetime, particularly his female figures were said to have been considered superior and more popular than those of his Amsterdam contemporary and competitor Rembrandt. In 1663, three years after fleeing to Paris, Jacob van Loo was accepted into the Académie royale de peinture et de sculpture.

Though his father also painted, Jacob’s success ensured that he would forever be referred to as the founder of the Van Loo family of painters; a dynasty which was influential in French and European painting from the 17th to the beginning of the 19th century. More on Jacob van Loo

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.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

08 Paintings, Hellenic Mytheology by Wilhelm Trübner (German, 1851–1917), with footnotes 2

Wilhelm Trübner, 1851 – 1917

The Battle of the Lapiths and Centaurs, 1877

Oil on cardboard

Height: 94 cm (37.01 in.), Width: 79 cm (31.1 in.)

The theme of the painting is taken from Ovid. The Lapiths, a peace-loving people of Thessaly, were celebrating the wedding of their king Pirithous to Hippodamia. The Centaurs were invited but they quickly began to misbehave. One of them, Eurytus, full of liquor, tried to carry off the bride and soon a battle raged in which drinking vessels, table legs, antlers, in fact anything to hand, served as weapons. Blood and brains were scattered everywhere. Finally, thanks chiefly for Theseus, the friend of Pirithous, who was among the guests, the Centaurs were driven off. To the ancients and to the Renaissance the theme symbolized the victory of civilization over barbarism. It was used to decorate Greek temples, notably the metopes of the Parthenon (the ‘Elgin marbles’), and was popular with baroque painters. More

The early 1870s were a period of discovery for Trübner. He travelled to Italy, Holland and Belgium, and in Paris encountered the art of Manet, whose influence can be seen in the spontaneous yet restrained style of Trübner’s portraits and landscapes. During this period he also made the acquaintance of Carl Schuch, Albert Lang and Hans Thoma, German painters who, like Trübner, greatly admired the unsentimental realism of Wilhelm Leibl. This group of artists came to be known as the “Leibl circle”.

Wilhelm Trübner, 1851 – 1917

Battling Giants, 1877

Oil on cardboard

Height: 61 cm (24.02 in.), Width: 49.6 cm (19.53 in.)

Museum der Bildenden Künste – Leipzig  (Germany – Leipzig)

The Giants were a race of great strength and aggression, though not necessarily of great size, known for their battle with the Olympian gods. They were the offspring of Gaia (Earth), born from the blood that fell when Uranus (Sky) was castrated by his Titan son Cronus.

Archaic and Classical representations show Gigantes as heavily-armed ancient Greek foot soldiers; fully human in form. In later traditions, the Giants were often confused with other opponents of the Olympians, particularly the Titans, an earlier generation of large and powerful children of Gaia and Uranus.

The vanquished Giants were said to be buried under volcanos, and to be the cause of volcanic eruptions and earthquakes. More

He published writings on art theory in 1892 and 1898, which express above all the idea that “beauty must lie in the painting itself, not in the subject”. By urging the viewer to discover beauty in a painting’s formal values, its colors, proportions, and surface, Trübner advanced a philosophy of “art for art’s sake”. In 1901 he joined the recently formed Berlin Secession, at the time Germany’s most important forum for the exhibition of avant-garde art. From 1903 until his death in 1917 he was a professor at the Academy of Arts in Karlsruhe, also serving as director from 1904 to 1910. More

Wilhelm Trübner, 1851 – 1917

Pair of Centaurs at a Waterfall, 1880

Oil on canvas

Height: 61.5 cm (24.21 in.), Width: 50 cm (19.69 in.)

Bayerische Staatsgemäldesammlungen – Munich  (Germany – Oberschleißheim)

Centaurs are half-human, half-horse creatures in Greek mythology. They have the body of a horse and the torso, head and arms of a man. They were considered to be the children of Ixion, king of the Lapiths, and Nephele, a cloud made in the image of Hera. According to a different myth, however, they were all born from the union of a single Centaurus with the Magnesian mares. More


Wilhelm Trübner, 1851 – 1917

Pair of Centaurs in the Woods, 1878

Oil on cardboard 

Height: 54 cm (21.26 in.), Width: 45 cm (17.72 in.)

TRÜBNER, WILHELM, (Heidelberg 1851 – 1917 Karlsruhe) 

Satyr and centaurs
Oil on panel. 
36.3 x 28.2 cm

A satyr is one of a troop of ithyphallic male companions of Dionysus with goat-like features and often permanent erection. Early artistic representations sometimes include horse-like legs, but in 6th-century BC black-figure pottery human legs are the most common. In Roman Mythology there is a concept similar to satyrs, with goat-like features: the faun, being half-man, half-goat, who roamed the woods and mountains. In myths they are often associated with pipe-playing. Greek-speaking Romans often used the Greek term saturos when referring to the Latin faunus, and eventually syncretized the two. More

Wilhelm Trübner, (German, 1851–1917)

Prometheus complained of the Oceanids I. , 1888

Oil on Canvas

322 x 230 cm. (126.8 x 90.6 in.)

Prometheus was the Titan god of forethought and crafty counsel who was given the task of moulding mankind out of clay. His attempts to better the lives of his creation brought him into conflict with Zeus. Firstly he tricked the gods out of the best portion of the sacrificial feast, acquiring the meat for the feasting of man. Then, when Zeus withheld fire, he stole it from heaven and delivered it to mortal kind hidden inside a fennel-stalk. As punishment for these rebellious acts, Zeus ordered the creation of Pandora(the first woman) as a means to deliver misfortune into the house of man, or as a way to cheat mankind of the company of the good spirits. Prometheus meanwhile, was arrested and bound to a stake on Mount Kaukasos (Caucasus) where an eagle was set to feed upon his ever-regenerating liver (or, some say, heart). Generations later the great hero Herakles (Heracles) came along and released the old Titan from his torture. More

The Oceanids are sea nymphs who were the three thousand daughters of the Titans Oceanus and Tethys.

Wilhelm Trübner (German, 1851–1917)

Prometheus complained of the Oceanids

Oil on canvas. 

133 x 79 cm

Wilhelm Trübner (German, 1851–1917)

Prometheus complained of the Oceanids


Wilhelm Trübner (German, 1851–1917)

Prometheus complained of the Oceanids


Trübner painted five versions of the theme of Prometheus. The 1889 version follows the “Prometheus Bound” by Aeschylus, where he appears attached to the rock, punished for having given fire to men. More

Wilhelm Trübner (German, 1851–1917)

Pomona, c. 1898

Oil on cardboard

81 cm (31.89 in.), Width: 42 cm (16.54 in.)

Staatliche Kunsthalle Karlsruhe  (Germany – Karlsruhe) 

Pomona was a goddess of fruitful abundance in ancient Roman religion and myth. Her name comes from the Latin word pomum, “fruit,” specifically orchard fruit. She was said to be a wood nymph.

Pomona scorned the love of the woodland gods, but married Vertumnus after he tricked her, disguised as an old woman. She and Vertumnus shared a festival held on August 13. The pruning knife was her attribute. There is a grove that is sacred to her called the Pomonal, located not far from Ostia, the ancient port of Rome.

Unlike many other Roman goddesses and gods, she does not have a Greek counterpart. She watches over and protects fruit trees and cares for their cultivation. She was not actually associated with the harvest of fruits itself, but with the flourishing of the fruit trees. In artistic depictions she is generally shown with a platter of fruit or a cornucopia. More

School of Wilhelm Trübner (1851–1917)

Youth in armor

Oil on canvas

106 × 87.5 cm (41.7 × 34.4 in)

Palais Dorotheum

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

%d bloggers like this: