Lamentation – Zaidan Gallery

01 Work, Interpretation of the bible, Quentin Massys the Elder’s Lamentation, with Footnotes – #192

Circle of Quentin Massys the Elder (Dutch, 1466-1530)
Lamentation
Oil on cradled panel
34 x 27 1/2 in. (86.4 x 69.9cm)
Private collection

This Lamentation is a very close copy of a lost prototype that Massys executed in the 1520s. Here, the artist depicts a dead Christ lying in his mother’s arms after his crucifixion on Calvary. Christ is shown naked, his sides flanked by a white drapery that cushions his head, which the Virgin is supporting with both of her hands. Mary is shown fully veiled, wearing a red dress covered by a blue fur coat. She tilts her anguished face towards her son and tenderly brushes her mouth against his newly inanimate lips. In the upper right background stand the three crosses upon which Christ and the malefactors were crucified, while to the left two figures are shown marching on a dirt road, both dressed in oriental garments and carrying presents. In the distance lays Jerusalem, with its distinctive city walls. More on this painting

The Lamentation of Christ is a very common subject in Christian art from the High Middle Ages to the Baroque. After Jesus was crucified, his body was removed from the cross and his friends mourned over his body. This event has been depicted by many different artists.

Lamentation works are very often included in cycles of the Life of Christ, and also form the subject of many individual works. One specific type of Lamentation depicts only Jesus’ mother Mary cradling his body. These are known as Pietà (Italian for “pity”) More The Lamentation of Christ

Quentin Massys (1466–1530) was a Flemish painter in the Early Netherlandish tradition. He was born in Leuven. There is a tradition alleging that he was trained as an ironsmith before becoming a painter. Matsys was active in Antwerp for over 20 years, creating numerous works with religious roots and satirical tendencies. He is regarded as the founder of the Antwerp school of painting, which became the leading school of painting in Flanders in the 16th century. He introduced new techniques and motifs as well as moralising subjects without completely breaking with the tradition. More on Quentin Massys

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22 Works, October 21st. is Domenico Zampieri’s day, his art, illustrated with footnotes #224

Domenichino (1581–1641) (after)
The Martyrdom of Saint Andrew
Oil on canvas
H 33.5 x W 43.5 cm
University of Edinburgh

Andrew is said to have been martyred by crucifixion at the city of Patras (Patræ) in Achaea. Early texts describe Andrew as bound, not nailed, and crucified on a cross of the form called crux decussata, now commonly known as a “Saint Andrew’s Cross”

Scene of the martyrdom of Saint Andrew with stuggling figures and a mounted figure on the left. This painting is a late seventeenth- or early eighteenth-century copy after an engraving of Domenichino’s fresco of this subject on the vault of Sant’Andrea della Valle in Rome, painted in 1622–1627. These frescoes were Domenichino’s most extensive Roman commission for which he vied with rival, Giovanni Lanfranco. Saint Andrew was martyred at Patras. He asked that he should be crucified on an ‘X’ shaped cross as he considered himself to be unworthy to die in the same manner as Jesus. More on this painting

Domenico Zampieri (October 21, 1581 — April 6, 1641), known by the diminutive Domenichino after his shortness, was an Italian Baroque painter of the Bolognese School of painters…

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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

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Cologne School, The Lamentation of Christ 01 Work, Interpretation the bible, With Footnotes – 127

The Lamentation of Christ is a very common subject in Christian art from the High Middle Ages to the Baroque. After Jesus was crucified, his body was removed from the cross and his friends mourned over his body. This event has been depicted by many different artists.

The term “Cologne School of Painting” loosely describes those Old Masters who were active in the medieval city of Cologne, and the lower-Rhine region, from about 1350 to 1550. Its representative religious paintings – mostly altarpieces – illustrate the various styles of oil painting practiced in Northern Europe during the period.

Cologne was one of the most important, wealthy and secure cities in Europe, with some 42,000 inhabitants, and a thriving economy based on its membership of the Hanseatic League. Its wealth, along with its extensive network of churches, chapels, monasteries and charitable foundations – and of course the magnificent Cologne Cathedral – provided a fertile environment for Christian art of all types. Not for nothing was it known as the “Rome of the North”. More on Cologne School of Painting

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, and 365 Saints, also 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.

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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.

Fiorentino Rosso; Lamentation Of Christ 01 Work, RELIGIOUS ART – Interpretation the bible, With Footnotes – #134

This is the only easel painting that can be dated with certainty to Rosso’s stay in France in 1530-40. The cushions beneath Christ’s body bear the blue alerions on an orange background of the coat of arms of Constable Anne de Montmorency, from whose château at Ecouen the Pietà was taken to the Louvre in the late 18th century. The marks visible on the bodies of Christ and St John are due to an initial, reversed composition – vsible under X-ray photography – which Rosso had blacked out.

This is the only surviving example of the religious works Rosso executed in France. More on this painting
The Lamentation of Christ is a very common subject in Christian art from the High Middle Ages to the Baroque. After Jesus was crucified, his body was removed from the cross and his friends mourned over his body. This event has been depicted by many different artists.
Lamentation works are very often included in cycles of the Life of Christ, and also form the subject of many individual works. One specific type of Lamentation depicts only Jesus’ mother Mary cradling his body. These are known as Pietà, pity. More on The Lamentationof Christ
Giovanni Battista di Jacopo (8 March 1495 in Gregorian style, or 1494 according to the calculation of times in Florence where the year began on 25 March – 14 November 1540), known as Rosso Fiorentino (meaning “red Florentine” in Italian), or Il Rosso, was an Italian Mannerist painter, in oil and fresco, belonging to the Florentine school.
Born in Florence with the red hair that gave him his nickname, Rosso first trained in the studio of Andrea del Sarto. In late 1523, Rosso moved to Rome, where he was exposed to the works of Michelangelo, Raphael, and other Renaissance artists, resulting in the realignment of his artistic style.
Fleeing Rome after the Sacking of 1527, Rosso eventually went to France where he secured a position at the court of Francis I in 1530, remaining there until his death. Together with Francesco Primaticcio, Rosso was one of the leading artists to work at the Chateau Fontainebleau as part of the “First School of Fontainebleau”, spending much of his life there.

Rosso’s reputation, along those of other stylized late Renaissance Florentines, was long out of favour in comparison to other more naturalistic and graceful contemporaries, but has revived considerably in recent decades. That his masterpiece is in a small city, away from the tourist track, was a factor in this, especially before the arrival of photography. His poses are certainly contorted, and his figures often appear haggard and thin, but his work has considerable power. More on Fiorentino Rosso

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.

Antwerp School, The Lamentation of Christ, 01 Works, RELIGIOUS ART – Interpretation of the Bible!, With Footnotes – 97

Antwerp School circa 1540, The Lamentation of Christ

Antwerp School, circa 1540

The Lamentation of Christ, circa 1540

Oil on panel

37 x 27 cm

Private collection

The Lamentation of Christ is a very common subject in Christian art from the High Middle Ages to the Baroque. After Jesus was crucified, his body was removed from the cross and his friends mourned over his body. This event has been depicted by many different artists.

The Antwerp School is a term for the artists active in Antwerp, first during the 16th century when the city was the economic center of the Low Countries, and then during the 17th century when it became the artistic stronghold of the Flemish Baroque under Peter Paul Rubens.

Antwerp took over from Bruges as the main trading and commercial center of the Low Countries around 1500. Painters, artists and craftsmen joined the Guild of Saint Luke, which educated apprentices and guaranteed quality. More Ecole Anversoise

Please visit my other blogs: Art Collector, Mythology, Marine 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.

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