Giovanni Benedetto Castiglione (1609–1664) God Creating the Animals Oil on canvas 101 ¼ x 117 ¼ ( 258 x 298 cm.) Private collection
Myths of creation occur in Mesopotamian and Canaanite literature and it is from these bodies of literature that the Old Testament book of Genesis derived some of its motifs surrounding the acts of creation. Genesis contains an account of eight works of creation that were actually spread over six days, the first four of which are known as the Works of Division and the second as the Works of Ornamentation. The subject of Castiglione’s painting, God’s Creation of the Animals, took place on the sixth day, when the creation of man also took place. The subject of the creation was extremely popular during the High Renaissance and was treated on a monumental scale by both Michelangelo in the Sistine Chapel and Raphael in the Vatican Logge. More on this painting
Giovanni Benedetto Castiglione (baptized 23 March 1609–5 May 1664) was an Italian Baroque painter, printmaker and draftsman, of the Genoese school. He is best known now for his etchings, and as the inventor of the printmaking technique of monotyping. He was known as Il Grechetto in Italy and in France as Le Benédette…
Nicolaus Knupfer, (Leipzig 1603-1660 Utrecht) Theseus Proposing to Phaedra Oil on panel 18 ½ x 25 1/8 in. (47 x 63.8 cm.) Private collection
Phaedra is a tragic play by Roman playwright Seneca. The play tells the story of Theseus’ wife Phaedra and her lust for her stepson, Hippolytus. However, Hippolytus despises women and wishes to remain pure, preferring to hunt and live in the woods. After Phaedra declares her love, Hippolytus lashes out and strikes to kill her for her lustful crime. Phaedra and her nurse accuse him of raping her, and Hippolytus flees. Upon Theseus’ return from the Underworld, Phaedra continues her lie, and Theseus prays to Neptune for Hippolytus’ death. After Hippolytus dies, Phaedra reveals her deception and kills herself out of shame. Theseus mourns his lost son and condemns Phaedra for her betrayal. More on Theseus and Phaedra
Nikolaus Knüpfer (1609 – 1655) was a Dutch Golden Age painter. Knüpfer was trained in Leipzig, where according to Houbraken he was apprenticed to Emanuel Nysen. He then moved to Magdeburg where he found work making brushes for artists. He stayed there until 1630, and then moved to Utrecht to work with Abraham Bloemaert. He lived with him for two years and then established his own studio in Utrecht, where in 1637 he became a visiting member of the Guild of St. Luke. He worked on the decorations of the castle Kronborg in Denmark, and painted figures in the landscapes of Jan Both and Jan Baptist Weenix. Knüpfer was a successful teacher, whose students were great painters after him. More on Nikolaus Knüpfer
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Alexandre-Gabriel Decamps Warrior with bow and arrow Oil on canvas 31 x 51 cm Private collection
Decamps was born in Paris. In his youth he travelled in the East, and reproduced Oriental life and scenery with a bold fidelity to nature that puzzled conventional critics. His powers, however, soon came to be recognized, and he was ranked along with Delacroix and Ingres as one of the leaders of the French school. At the Paris Exhibition of 1855 he received the grand or council medal…
Francesco Furini, (1603–1646) Hylas and the nymphs, c. 1630 Oil on canvas Palazzo Pitti
Hylas was the son of King Theiodamas of the Dryopians. After Hercules killed Hylas’s father, Hylas became a companion of Hercules. They both became Argonauts, accompanying Jason in his quest on his ship Argo in seeking the Golden Fleece. During the journey, Hylas was sent to find fresh water. He found a pond occupied by Naiads, and they lured Hylas into the water and he disappeared. More on Hylas and the nymphs
Francesco Furini (c. 1600 (or 1603) – August 19, 1646) was an Italian Baroque painter of Florence, noted for his sensual sfumato style in paintings of both secular and religious subjects. He was born in Florence to an artistic family. Furini’s early training was by Matteo Rosselli. Traveling to Rome in 1619, he also would have been exposed to the influence of Caravaggio and his followers.
Furini’s work reflects the tension faced by the conservative, mannerist style of Florence when confronting then novel Baroque styles. He is a painter of biblical and mythological set-pieces with a strong use of the misty sfumato technique. In the 1630s his style paralleled that of Guido Reni.
Furini became a priest in 1633 for the parish of Sant’ Ansano in Mugello.
Freedberg describes Furini’s style as filled with “morbid sensuality”. His frequent use of disrobed females is discordant with his excessive religious sentimentality, and his polished stylization and poses are at odds with his aim of expressing highly emotional states. His stylistic choices did not go unnoticed by more puritanical contemporary biographers like Baldinucci. Pignoni also mirrored this style in his works.
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Pierre-Auguste Renoir, 1841 – 1919 The Skiff (La Yole), c. 1875 Oil on canvas 71 x 92 cm National Gallery
This sunlit scene on the river Seine is typical of the imagery that has come to characterise Impressionism, and Renoir includes several familiar Impressionist motifs such as fashionably dressed women, a rowing boat, a sail boat, and a steam train crossing a bridge. The exact location has not been identified, but we are probably looking at the river near Chatou, some ten miles west of central Paris, which was a popular spot for recreational boating.
Renoir creates an effect of summer heat and light by using bright unmixed paint directly from the tube and by avoiding black or earth tones. In placing the bright orange boat against the dark blue water, Renoir has deliberately used complementary colours, which become more intense when seen alongside each other. More on this painting
Pierre-Auguste Renoir (25 February 1841–3 December 1919) was a French artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty and especially feminine sensuality, it has been said that “Renoir is the final representative of a tradition which runs directly from Rubens to Watteau.”
Mihály Munkácsy (20 February 1844–1 May 1900) was a Hungarian painter. He earned international reputation with his genre pictures and large-scale biblical paintings.
Munkácsy was a bureaucrat of Bavarian origin. After being apprenticed to itinerant painter Elek Szamossy, Munkácsy went to Pest (Budapest), where he sought the patronage of established artists. With the help of the landscape artist Antal Ligeti, he received a state grant to study abroad. In 1865, he studied at the Academy of Vienna under Karl Rahl. In 1866, he studied at the Munich Academy, and in 1868 he moved to the Kunstakademie Düsseldorf to study with the popular genre painter Ludwig Knaus. In 1867, he travelled to Paris to see the Universal Exposition…
Francesco Hayez (1791–1882) Odalisque, c. 1867 Oil On Canvas 82 x 68 cm – 1867 I have no further description, at this time
An odalisque was a chambermaid or a female attendant in a Turkish seraglio, particularly the court ladies in the household of the Ottoman sultan. In western usage, the term came to mean the harem concubine, and refers to the eroticized artistic genre in which a woman is represented mostly or completely nude in a reclining position, often in the setting of a harem. More on An odalisque
Francesco Hayez (10 February 1791–12 February 1882) was from a relatively poor family from Venice. Francesco was the youngest of five sons. He was brought up by his mother’s sister, who had married Giovanni Binasco, a well-off shipowner and art collector. Hayez displayed a predisposition for drawing since childhood.
His uncle, having noticed his precocious talent, apprenticed him to an art restorer in Venice. Hayez would later became a pupil of the painter Francesco Maggiotto with whom he continued his studies for three years.
He was admitted to the painting course of the New Academy of Fine Arts in Venice in 1806, where he studied under Teodoro Matteini. In 1809 he won a competition from the Academy of Venice for a one year residency at the Accademia di San Luca in Rome.
He remained in Rome until 1814, then moved to Naples where he was commissioned to paint a major work depicting Ulysses at the court of Alcinous. In the mid-1830s he attended the Maffei Salon in Milan, hosted by Clara Maffei. Maffei’s husband would later commissioned Hayez a portrait of his wife (See below). In 1850 Hayez was appointed director of the Brera Academy.
Salvator Rosa (Italian, Arenella (Naples) 1615–1673 Rome) The Dream of Aeneas, c. 1660–65 Oil on canvas 77 1/2 x 47 1/2 in. (196.9 x 120.7 cm) The Metropolitan Museum of Art
In Book VIII of Virgil’s Aeneid, the Trojan hero Aeneas has landed in Latium, exhausted from the brewing hostilities with the local Rutili and their leader Turnus. “This way and that he turns his anxious mind; thinks, and rejects the counsel he designed; explores himself in vain, and gives no rest to his distracted heart.” Aeneas finally finds nocturnal repose on the banks of the Tiber, when “thro’ the shadows of the poplar wood, arose the father of the Roman flood an azure robe was over his body spread, a wreath of shady reeds adorned his head.” Tiberinus, the river god himself, tells Aeneas not to fear, for “when thirty rolling years have run their race, thy son Ascanius, on this empty space, shall build a royal town, of lasting fame”—a prophecy of the foundation of Rome. More on this painting
Salvator Rosa (June 20 or July 21, 1615 – March 15, 1673) was one of the least conventional artists of 17th-century Italy, and was adopted as a hero by painters of the Romantic movement in the later 18th and early 19th centuries. He was mainly a painter of landscapes, but the range of his subject matter was unusually wide and included portraits and allegories. He also depicted scenes of witchcraft, influenced by Northern prints.
Rosa’s training took place in Naples, where he was born, and the main influences on his early work were Ribera and Aniello Falcone, a painter best known for his battle scenes. Following visits to Rome in the later 1630s Rosa worked in Florence and its neighbourhood (1640-9), before returning to Rome, where he eventually died. More on Salvator Rosa
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Raffaello Sorbi (1844-1931) Bacchanal, c. 1896 Oil on canvas 25 ½ x 44 ½ in. (65 x 113 cm.) Private collection
Bacchanalia, also called Dionysia, in Greco-Roman religion, any of the several festivals of Bacchus (Dionysus), the wine god. They probably originated as rites of fertility gods. Introduced into Rome from lower Italy, the Bacchanalia were at first held in secret, attended by women only, on three days of the year. Later, admission was extended to men, and celebrations took place as often as five times a month. The reputation of these festivals as orgies led in 186 bc to a decree of the Roman Senate that prohibited the Bacchanalia throughout Italy, except in certain special cases. Nevertheless, Bacchanalia long continued in the south of Italy. More on Bacchanalia
Raffaello Sorbi was a 19th-20th century Florentine painter, specializing in narrative painting.
As a young man, he studied design in the Royal Academy of Fine Arts in Florence; then painting under professor Antonio Ciseri. By 18 years, he had completed his first major work. He completed commissions for patrons in America and England. In 1863, he won a contest in Rome. In Florence, he exhibited a work depicting Piccarda Donati kidnapped from the Convent of Santa Chiara, by her brother Corso. He completed a St Catherine of Siena before an angry Florentine mob after concluding peace with the Pope, by commission for signore marchese Carlo Torrigiani. His painting of Imelda de’ Lambertazzi e Bonifazio Geremei (lovers from Donizetti’s opera) was sold to Wilhelm Metzler of Frankfort, Germany. In 1869, the sculptor Giovanni Duprè visited his studio, and commissioned a Phidias sculpts the Minerva Statue.
After this work, Sorbi produced mainly small canvases, mostly sold through the Goupil Gallery of Paris. Many are of antique Roman or from the historical Tuscan pasty. Many of his works were acquired by English collectors. In 1870, at the Mostra of Fine Arts di Parma, he displayed La strada. Sorbi became academician at the Royal Institute of Fine Arts of Florence and resident professor and honorary associate of the Royal Academy of Fine Arts of Urbino.
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Unknown artist Ziegfeld Follies Photo Helen O’Shea as Leda from the Ziegfeld production of Leda and the Swan, ca. 1920s 8″ W x 10″ H (20.3 cm x 25.4 cm) Private collection
Photograph of Helen O’Shea as Leda from the Ziegfeld production of Leda and the Swan, ca. 1920s. A rare vintage black and white photograph of a Ziegfeld Follies revue dancer, Helen O’Shea, nude save the large white swan. Posed on toe upon a columniatied tiered pedestal, she seductively caresses the swan. On the verso is the following handwritten inscription, “Miss Helen O’ Shea presenting her own original & classical dance interpretation of ‘Leda & the Swan’ taken from the famous Greek myth. More on this work
Leda, in Greek legend, usually believed to be the daughter of Thestius, king of Aetolia, and wife of Tyndareus, king of Lacedaemon. She was also believed to have been the mother (by Zeus, who had approached and seduced her in the form of a swan) of the other twin, Pollux, and of Helen, both of whom hatched from eggs. Variant legends gave divine parentage to both the twins and possibly also to Clytemnestra, with all three of them having hatched from the eggs of Leda, while yet other legends say that Leda bore the twins to her mortal husband, Tyndareus. Still other variants say that Leda may have hatched out Helen from an egg laid by the goddess Nemesis, who was similarly approached by Zeus in the form of a swan.The divine swan’s encounter with Leda was a subject depicted by both ancient Greek and Italian Renaissance artists; Leonardo da Vinci undertook a painting (now lost) of the theme, and Correggio’s Leda (c. 1530s) is a well-known treatment of the subject. More Leda and The Swan
Helen Shea was a dancer in the Ziegfeld Follies. She was born sometime around 1900, and began dancing at the age of five. She danced in a number of school performances and amateur entertainment shows, and was discovered during one of these performances by Florenz Ziegfeld. Ziegfeld invited her to dance in the Ziegfeld Follies, and in October of 1920, she was billed twice in the program for a performance at the Colonial Theatre in Boston. In the winter of 1921-1922, Shea performed one of the title roles in Mary, Irene, and Sally in Philadelphia and New York, but returned to Follies soon after. It was around this time that she was first billed as Helen O’Shea. In July 1922, she was a principal dancer in Spice of 1922, and in August of 1923 she appeared in the Summer Edition Ziegfeld Follies, performing “the Inspiration”. Shea continued to appear in various touring shows until 1926. In 1925, she appeared in several shows in London. In June of 1926, Shea was a featured dancer in Ziegfeld’s American Review (later known as Ziegfeld Follies of 1926) in New York, and continued to dance in Ziegfeld’s works until his death in 1932. More on Helen Shea
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Robert Brackman, American, 1898-1980 A Muse, c. 1936 Oil on canvas 25 1/8 x 30 1/8 inches Private collection
Muse, in Greco-Roman religion and mythology, any of a group of sister goddesses of obscure but ancient origin, in Boeotia, Greece. They were born in Pieria, at the foot of Mount Olympus. Very little is known of their cult, but they had a festival every four years at Thespiae. They probably were originally the patron goddesses of poets, although later their range was extended to include all liberal arts and sciences—hence, their connection with such institutions as the Museum (Mouseion, seat of the Muses) at Alexandria, Egypt. There were nine Muses as early as Homer’s Odyssey, and Homer invokes either a Muse or the Muses collectively from time to time. More on Muses
Robert Brackman (September 25, 1898 – July 16, 1980) was an American artist and teacher of Ukrainian origin, best known for large figural works, portraits, and still lifes. Born in Odes’ka Oblast, Ukraine, he emigrated from the Russian Empire in 1908.
Brackman studied at the National Academy of Design from 1919 to 1921, and the Ferrer School in San Francisco. From 1931, he had a long career teaching at the Art Students League of New York where he was a life member. He also taught at the American Art School in New York City, the Brooklyn Museum School, the Lyme Academy College of Fine Arts, and the Madison Art School in Connecticut. In 1932, Brackman was elected into the National Academy of Design as an Associate member, and became a full member in 1940.
Brackman was married to Rochelle Post; they later divorced. He had two daughters with his second wife. More on Robert Brackman
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Consuelo Fould La semeuse d’étoiles/ The star sower, circa 1925 Oil on panel Musée Roybet Fould
Consuelo Fould, born November 22, 1862, in Cologne (Germany), arrived in France in 1864, with her parents, Valérie Simonin and Gustave Fould. She trained very young with her mother, a former actress who practiced sculpture with Mathieu-Meunier, also professor of Sarah Berhnardt…
Elisabeth Baumann (1819–1881) An Egyptian Pot Seller at Gizeh, c. between 1876 and 1878 Oil on canvas Height: 92 cm (36.2 in); Width: 114 cm (44.8 in) Statens Museum for Kunst
The picture is a concentrate of observations on travels 1869–70 and 1874–75 to Turkey, Greece and Egypt and must be described as one of Jerichau Baumann’s masterpieces. It is carried by a sensuality and coloristic boldness that is atypical of the Danish art of the period, but less marked by the pointed ethnocentrism that characterizes contemporary international orientalism.
The scene is rich in colour and contrast; the glorious hues of the rug catch the eye. The nude body beneath sheer silk and the exotic jewellery add a sensuous quality that still impresses. Of Polish-German descent, Jerichau Baumann had a wider outlook than most Danish artists of the time. More on this painting
Anna Maria Elisabeth Lisinska Jerichau-Baumann (21 November 1819–11 July 1881)
was a Polish-Danish painter. She was married to the sculptor Jens Adolf Jerichau.
Elisabeth was born in Żoliborz, a borough of Warsaw. Her father Philip Adolph Baumann (1776–1863), a mapmaker, and her mother, Johanne Frederikke Reyer (1790–1854), were of German extraction…
Aniello Falcone (1607–1656) Roman Soldiers in the Circus, circa 1640 Oil on canvas Height: 92 cm (36.2 in); Width: 183 cm (72 in) Museo del Prado
Aniello Falcone (15 November 1600–1656) was an Italian Baroque painter, active in Naples and noted for his painted depictions of battle scenes. Some sources refer to him as Ancillo Falcone.
Born in Naples the son of a tradesman, he showed his artistic tendency at an early age. He first received some instruction from a relative, before becoming one of the most prominent pupils of José de Ribera…
Giuseppe Simonelli Battle of the Centaurs against the Lapiths Oil on canvas 190 x 257 cm, Private collections
The battle depicted takes place between the Lapiths and the Centaurs at the wedding feast of Pirithous. Pirithous, king of the Lapith, had long clashed with the neighboring Centaurs. To mark his good intentions Pirithous invited the Centaurs to his wedding to Hippodamia. Some of the Centaurs, over-imbibed at the event, and when the bride was presented to greet the guests, she so aroused the intoxicated centaur Eurytion that he leapt up and attempted to carry her away. This led not only to an immediate clash, but to a year-long war, before the defeated Centaurs were expelled from Thessaly to the northwest. More on the Battle of the Centaurs against the Lapiths
Giuseppe Simonelli (Naples, c.1650–1710) was an Italian painter, active in a late-Baroque style. Born in Naples around 1650, Simonelli was one of the most important painters of the school of Luca Giordano. His early works were often retouched by Giordano to such a degree that some of them were confused with those of the master. He learned Giordano’s art so well that when the master left Naples for the Spanish court in 1692, he was assigned the task of completing the unfinished Neapolitan works for delivery to clients. Reliable details of his own production are available as from 1686, when he received the final payment for a painting of Holy Martyrs for the Jesuit college in Trapani. His most celebrated works are the series of 28 paintings for the Church of the Annunziata in Aversa, produced between 1702 and 1703 together with his brother Gennaro. He worked continuously right up to his death in 1710. More on Giuseppe Simonelli
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Gustave Doré (1832–1883) Andromeda, c. 1869 Oil on canvas height: 256.5 cm (100.9 in); width: 172.7 cm (67.9 in) Private collection
In Greek mythology, Andromeda was the daughter of Cepheus and Cassiopeia, king and queen of the North African kingdom of Aethiopia (the Upper Nile region).
Paul Gustave Louis Christophe Doré (6 January 1832–23 January 1883) was a French artist, printmaker, illustrator and sculptor. Doré worked primarily with wood engraving.
Doré was born in Strasbourg on 6 January 1832. By age five, he was a prodigy troublemaker, playing pranks that were mature beyond his years. Seven years later, he began carving in cement. At the age of fifteen Doré began his career working as a caricaturist for the French paper Le Journal pour rire, and subsequently went on to win commissions to depict scenes from books by Rabelais, Balzac, Milton and Dante…
William D. Washington (1833–1870) The Burial of Latané, c. 1864 Oil on canvas Height: 38 in (96.5 cm); Width: 48 in (121.9 cm) The Johnson Collection, Spartanburg, South Carolina
In June 1862, twenty-nine-year-old Captain William Latané of the 9th Virginia Cavalry was the only Confederate killed during J. E. B. Stuart’s famous ride around Union general McClellan’s army during the Peninsula Campaign. After Latané’s death at Old Church in Hanover County, his brother John Latané removed the body to the Westwood plantation two miles away. The plantation’s white men were all away serving the Confederate army, but Mrs. William Spencer Roane Brockenbrough, the mistress of the house, assured John Latané that his brother’s remains would be rendered proper care and a Christian burial…
FLEMISH SCHOOL, 17TH CENTURY Cephalus and Procris Oil on canvas 90.5 x 119.3cm (35 5/8 x 46 15/16in) Private collection
Cephalus was married to Procris, a daughter of Erechtheus, an ancient founding-figure of Athens. One day the goddess of dawn, Eos, kidnapped Cephalus when he was hunting. The resistant Cephalus and Eos became lovers, and she bore him a son. However, Cephalus always pined for Procris, causing a disgruntled Eos to return him to her, making disparaging remarks about his wife’s fidelity.
Once reunited with Procris after an interval of eight years, Cephalus tested her by returning from the hunt in disguise, and managing to seduce her. In shame Procris fled to the forest, to hunt. In returning and reconciling, Procris brought two magical gifts, an inerrant javelin that never missed its mark, and a hunting hound, Laelaps that always caught its prey. The hound met its end chasing a fox (the Teumessian vixen) which could not be caught; both fox and the hound were turned into stone. But the javelin continued to be used by Cephalus, who was an avid hunter.
Procris then conceived doubts about her husband, who left his bride at the bridal chamber and climbed to a mountaintop and sang a hymn invoking Nephele, “cloud”. Procris became convinced that he was serenading a lover. She climbed to where he was to spy on him. Cephalus, hearing a stirring in the brush and thinking the noise came from an animal, threw the never-erring javelin in the direction of the sound – and Procris was impaled. As she lay dying in his arms, she told him “On our wedding vows, please never marry Eos”. Cephalus was distraught at the death of his beloved Procris, and went into exile. More on Cephalus and Procris
Flemish paintingflourished from the early 15th century until the 17th century. Flanders delivered the leading painters in Northern Europe and attracted many promising young painters from neighbouring countries. These painters were invited to work at foreign courts and had a Europe-wide influence. Since the end of the Napoleonic era, Flemish painters had again been contributing to a reputation that had been set by the Old Masters. More Flemish School
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Maximilian Lenz (1860–1948) Herbstgold/ Autumn Gold, c. 1904 Oil with gold relief on canvas 102 x 230.5 cm Private collection
Maximilian Lenz (4 October 1860, Vienna — 19 May 1948, Vienna) was an Austrian painter, graphic artist and sculptor. Lenz was a founding member of the Vienna Secession; during his career’s most important period, he was a Symbolist, but later his work became increasingly naturalistic. He worked in a variety of media, including oils, watercolours, lithography and metal reliefs…
Henryk Siemiradzki, (1843–1902) Dirce, c.1897 Oil on canvas Height: 263 cm (103.5″); Width: 530 cm (17.3 ft) National Museum in Warsaw
Dirce was a daughter of the river-gods Achelous or Ismenus, or of Helios.
After Zeus impregnated Antiope, Antiope fled in shame to King Epopeus of Sicyon, but was brought back by Lycus through force, giving birth to the twins Amphion and Zethus on the way. Lycus gave Antiope to Dirce. Dirce hated Antiope and treated her cruelly, until Antiope, in time, escaped…
Zaidan Gallery 