David Driesbach; Rest on the Flight to Egypt 01 Work, CONTEMPORARY Interpretation of the Bible! With Footnotes – 34

David Driesbach, (American, b. 1922)
Rest on the Flight to Egypt, c. 1959

Etching
17 3/4″ x 22 1/2″
Private collection

Rest on the Flight to Egypt. The scene is based not on any incident in the Bible itself, but on a body of tales or legends that had grown up in the early Middle Ages around the Bible story of the Holy Family fleeing into Egypt for refuge on being warned that Herod the Great was seeking to kill the Christ Child. According to the legend, Joseph and Mary paused on the flight in a grove of trees; the Holy Child ordered the trees to bend down so that Joseph could take fruit from them, and then ordered a spring of water to gush forth from the roots so that his parents could quench their thirst. This basic story acquired many extra details during the centuries. More on Rest on the Flight to Egypt

David Dreisbach, printmaker and educator, was born in Wausau, Wisconsin on October 7, 1922. He attended the University of Illinois between 1940 and 1941. During World War II, he worked in war plants in Illinois and California until June 1942, when he enlisted in the U.S. Marines. He served in the South Pacific Theater for three years. He was discharged in 1945. He continued his education under the G.I. Bill, studying with Mauricio Lasansky and Stanley William Hayter at Atelier 17 in New York and in France in 1969. 


Driesbach’s teaching experience includes Hendrix College, Conway, Arkansas; Iowa State Teachers College, Cedar Falls, Iowa 1953-1954; Millikin University, Decatur, Illinois 1954-1959; Ohio University, Athens, Ohio 1959-1964; and fianlly at Northern Illinois University Dekalb. Driesbach retired from teaching in 1992. His work is represented in the collections of he Seattle Art Museum, Dayton Art Institute, Columbus Gallery of Fine Art and the Bibliothèque Nationale de France. More on David Dreisbach


This is a link to the artist’s website: http://www.davidfdriesbach.com/ 

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

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.

Advertisements

Pieter van Lint; Virgin and Child 01 Work, Interpretation the bible, With Footnotes – 121

Pieter van Lint or Peter van Lint (Flemish 1609-1690)
Virgin and Child

Oil on copper
18 1/2 x 14 1/4 in. (47 x 36.8cm)
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

Pieter van Lint or Peter van Lint (1609–1690) was a Flemish painter, draughtsman and designer of tapestries. He excelled in history paintings, genre scenes and portraits in the Flemish Baroque style with some Classisizing influence. He worked in Antwerp and Italy.

He was born in Antwerp where he trained under Artus Wolffort. During his training he frequently visited Antwerp’s churches to copy the paintings of his contemporaries such as Peter Paul Rubens as well as those of earlier generations such as Marten de Vos and the Francken brothers.

Van Lint become a master in the Guild of Saint Luke in 1633. In that same year he traveled to Rome where he remained until 1640. In Rome he worked for Cardinal Domenico Ginnasi, Bishop of Ostia, who employed him to decorate the local cathedral. Van Lint also frescoed the Cybo family chapel in the Santa Maria del Popolo with the Legend of the True Cross in 1636-40. He spent time in Paris from 1640 to 1641 where he possibly was in contact with Poussin. More on Peter van Lint

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.

William Baxter Closson; The Angel 01 Work, CONTEMPORARY Interpretation of the Bible! With Footnotes – 30

William Baxter Closson
The Angel, ca. 1912

Oil on canvas
57 1/8 x 37 3/8 in. (145.0 x 94.9 cm)
Smithsonian American Art Museum

An angel is generally a supernatural being found in various religions and mythologies. In Abrahamic religions and Zoroastrianism, angels are often depicted as benevolent celestial beings who act as intermediaries between God or Heaven and Humanity. Other roles of angels include protecting and guiding human beings, and carrying out God’s tasks. More on Angels

William Baxter Palmer Closson (October 13, 1848 – May 30, 1926) was an American artist, born in Thetford, Vermont on October 13, 1848.


As a young adult, he was educated at Thetford Academy before graduating and working as a clerk in a railroad office.


Soon, he moved to Boston, Massachusetts, and worked as an apprentice wood engraver with Samuel S. Kilburn. He studied drawing at the Lowell Institute, then went on to work for Harper’s Magazine and various publishing houses in Boston. While in Boston, he shared a studio with painter George Fuller.[3]


Seventeen of his paintings are in the American Art collection at the Smithsonian Institution. He also has works on display at the Wadsworth Atheneum in Hartford and the Cleveland Museum of Art.


He died on May 30, 1926 in Hartford, Connecticut and is buried in the Gallaudet plot at Cedar Hill Cemetery. More on William Baxter Palmer Closson

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.

Gustavo Aceves; The crucifixion of Jesus 01 Work, CONTEMPORARY Interpretation of the Bible! With Footnotes – 29

Gustavo Aceves (b. 1957, Mexico City)
Untitled/ The crucifixion of Jesus, c. 2009

Oil on canvas
210 x 170 cm
Private collection

The crucifixion of Jesus occurred in 1st-century Judea, most likely between AD 30 and 33. Jesus’ crucifixion is described in the four canonical gospels, referred to in the New Testament epistles.

Jesus was arrested and tried by the Sanhedrin, and then sentenced by Pontius Pilate to be scourged, and finally crucified by the Romans. Jesus was stripped of his clothing and offered wine mixed with myrrh or gall to drink before being crucified. He was then hung between two convicted thieves and died some six hours later. During this time, the soldiers affixed a sign to the top of the cross stating “Jesus of Nazareth, King of the Jews” which, according to the Gospel of John, was written in three languages. After Jesus’ death, one soldier pierced his side with a spear to be certain that he had died. More on The crucifixion of Jesus

Gustavo Aceves (b. 1957, Mexico City) currently lives and works in Pietrasanta, Italy. Aceves is a self-taught artist who quickly built up a reputation as an influential painter working in Latin America. His paintings and works on paper focusing on the human figure draws upon Western pictorial traditions whilst using the large-scales common in Mexican murals. Aceves’ work has been exhibited around the world since the late 1970s including in the Museo del Palacio Bellas Artes in Mexico City, the Venice Biennale and the Beijing Biennale. His work can be found in the permanent collections of Museo Memoria y Tolerancia, Mexico City and the Vatican Museum, Rome. More on Gustavo Aceves

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

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.


Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.

Gabriel Macotela, La santa 01 Work, CONTEMPORARY Interpretation of the Bible! With Footnotes – 28

Gabriel Macotela (Guadalajara, Jalisco, 1954 -)
La santa/ A saint, c. 1983

Oil, water and religious folk charm on wood
195 x 101.5 cm
Private collection

Gabriel Macotela  (Guadalajara, Jalisco, 1954 -) 

La santa/ A saint, c. 1983

Oil, water and religious folk charm on wood

195 x 101.5 cm

Private collection

A saint is a person who is recognized as having an exceptional degree of holiness or likeness or closeness to God. Depending on the context and denomination, the term also retains its original Christian meaning, as any believer who is “in Christ” and in whom Christ dwells, whether in Heaven or on Earth. In Roman Catholic, Eastern Orthodox, Anglican, Oriental Orthodox, and Lutheran doctrine, all of their faithful deceased in Heaven are considered to be saints, but some are considered worthy of greater honor or emulation; official ecclesiastical recognition, and consequently veneration, is given to some saints through the process of canonization in the Catholic Church or glorification in the Eastern Orthodox Church.

While the English word saint originated in Christianity, historians of religion now use the appellation “in a more general way to refer to the state of special holiness that many religions attribute to certain people”, with the Jewish tzadik, the Islamic walī, the Hindu rishi or Sikh guru, and the Buddhist arhat or bodhisattva also being referred to as saints. Depending on the religion, saints are recognized either by official ecclesiastical declaration, as in the Catholic faith, or by popular acclamation. More on A saint 

Gabriel Macotela ( Guadalajara , 7 as August as 1954 ) is a painter, sculptor, printmaker, illustrator, set designer, editor and Mexican musician.


He studied at the National School of Painting, Sculpture and Engraving “La Esmeralda” of the National Institute of Fine Arts and completed his training at the National School of Plastic Arts of the UNAM , in the workshop of the teacher Gilberto Aceves Navarro . In 1977 he founded Cocina Ediciones and in 1985 the bookstore El Archivero. Since 1976 he has had solo exhibitions in Mexico City and Monterrey . He has participated in numerous group exhibitions in Mexico and abroad, including painting, sculpture, and artists’ books in France, India, Cuba, Brazil, the United States, Germany and Spain. 


Macotela received the Fonca recognition and becomes a member of the National System of Creators (SNCA) during the period 1993-1996. More on Gabriel Macotel

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

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.


Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.

ITALIAN SCHOOL, The Sanhedrin trial of Jesus 01 Work, Interpretation the bible, With Footnotes – 120

ITALIAN SCHOOL, 16th Century
“The Sanhedrin trial of Jesus”

Oil on panel
55.6 x 82.5 cm.
Private collection

The present painting depicts Jesus after his arrest in Jerusalem and prior to his dispensation by Pontius Pilate. It is an event reported by all four canonical gospels of the New Testament. As can be seen, Jesus sits quietly and does not mount a defense, rarely responding to the accusations against him. The Jewish authorities condemn Jesus for not denying that he is the Son of God. Pontius Pilate, the governor of Roman Judaea, asks that he be tried for claiming to be the King of the Jews.


From a historical perspective, in the era in which the narrative is set, the Sanhedrin body was an ad hoc gathering, rather than a fixed court. The portrayal of the Sanhedrin body contradicts that of Jewish tradition and texts, which portray the Sanhedrin to be an established court based in Jerusalem with strict guidelines on how to function  More on this work

Italian School, 16th Century. The first two decades of the 16th century witnessed the harmonious balance and elevated conception of High Renaissance style, perfected in Florence and Rome by Leonardo, Raphael, and Michelangelo. It brought together a seamless blend of form and meaning. In Venice, Bellini, Giorgione, and Titian devoted themselves to an art that was more sensual, with luminous color and a tactile handling of paint, preoccupations that would attract Venetian artists for generations, including Tintoretto and Veronese later in the century.

In the 1520s, Florence and Rome, but not Venice, saw a stylistic shift following the social and political upheaval ensuing from the disastrous Sack of Rome. Mannerism, as practiced by Bronzino, Pontormo, and Rosso, was a self-consciously elegant style that traded naturalism for artifice, employing unnaturally compressed space, elongated figures, and acid color. While mannerism became popular internationally, and lingered in northern Europe, by around 1580 it had fallen out of favor in Italy. One factor was the desire of the Church, challenged by the Protestant Revolution, to connect with the faithful. In place of mannerism’s ingenuous complications and artificiality, the Counter-Reformation Church required painting that was direct and emotionally resonant. The “reform of painting,” as it was called, was launched by two brothers and a cousin in Bologna: Annibale, Agostino, and Lodovico Carracci. They established an academy that emphasized drawing from life and looked to inspiration from Titian and other Renaissance masters, restoring the naturalism and classical balance of the early 16th century. More Italian School, 16th Century

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.

Sylwia Perczak, Dobry/ Good day 01 Works, CONTEMPORARY Interpretation of the Bible! With Footnotes – 33

Sylwia Perczak
Dobry/ Good day, c. 2018

Acrylic, tempera on canvas
120 x 60 cm.
Private collection

Sylwia Perczak, (b1977) graduated from the Institute of Fine Arts of the Higher School of Pedagogy in Czestochowa in 2001. She commenced her degree at the painting studio of prof. Vincent Maszkowkiego. From 2005, she joined the Polish Association of Pastel in Nowy Sacz. She illustrates children’s books. More on Sylwia Perczak

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

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.