01 Work, RELIGIOUS ART – Jacob Cornelisz’s The Adoration of the Magi, With Footnotes – #136

Workshop of Jacob Cornelisz, Oostzaan circa 1460/65 – 1533 Amsterdam
The Adoration of the Magi with portraits of two kneeling donors, Claes Hendricksz. Basgen (1488-1563) and his daughter Neel Claesdr. Basgen (1528-1594)
Oil on panel
31¾ by 26½ in.; 80.6 by 67.3 cm.
Private collection

The Adoration of the Magi (anglicized from the Matthean Vulgate Latin section title: A Magis adoratur) is the name traditionally given to the subject in the Nativity of Jesus in art in which the three Magi, represented as kings, especially in the West, having found Jesus by following a star, lay before him gifts of gold, frankincense, and myrrh, and worship him. More on the Adoration of the Magi

A dynamic and colorful Adoration scene fills the composition, but two donor figures kneel in the lower corners. The kneeling figure on the left is Claes Hendricksz. Basgen (1488-1563), a wealthy merchant who held prominent political positions in Amsterdam. On the right is his daughter Neel Claesdr. Basgen (1528-1594), who is attired in the robes of an Augustinian canoness. While the specifics for the commission of this panel remain uncertain, Dudok van Heel has proposed that this painting may have been commissioned in celebration of her entrance into the women’s convent of Oude Nonnenklooster in Amsterdam. More on this work
Jacob Cornelisz van Oostsanen (before 1470 – 1533) was a Northern Netherlandish designer of woodcuts and a painter. He was one of the first important artists working in Amsterdam, at a time when it was a flourishing provincial town.

Little is known about Jacob Cornelisz van Oostsanen’s life. Historians rely mostly on the biographical sketch of him written by Karel van Mander, the archives of Amsterdam, and the archives of Egmond Abbey, a Benedictine monastery that commissioned works by him. His name indicates he was from Oostzaan, North Holland

The first known commissions for Jacob Cornelisz were from when he was at least 35 years of age. It is assumed that he worked in a painters’s workshop before that, and judging from his close copies of Haarlem painting techniques, this was possibly in Haarlem. More on Jacob Cornelisz van Oostsanen

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19 Works, Aug 19th. is Gerbrand van den Eeckhout’s day, his story, illustrated with footnotes #196

Gerbrand van den Eeckhout
Adoration of the Magi
Oil on canvas
111 x 146 cm
Private collection

The Adoration of the Magi (anglicized from the Matthean Vulgate Latin section title: A Magis adoratur) is the name traditionally given to the subject in the Nativity of Jesus in art in which the three Magi, represented as kings, especially in the West, having found Jesus by following a star, lay before him gifts of gold, frankincense, and myrrh, and worship him. More on the Adoration of the Magi

Gerbrand van den Eeckhout (19 August 1621–29 September 1674), was a Dutch Golden Age painter and a favourite student of Rembrandt. He was also an etcher, an amateur poet, a collector and an adviser on art…

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01 Work, RELIGIOUS ART – Interpretation of the bible, Pieter Coecke van Aelst’s Adoration of the Magi. With Footnotes – 146

Circle of Pieter Coecke van Aelst (Aelst 1502-1550 Brussels)
The Adoration of the Magi
Oil on panel
67.6 x 55.6cm (26 5/8 x 21 7/8in)
Private collection

Numerous repetitions of the present work exist with the primary version being the central panel of a triptych listed by Georges Marlier as by the ‘Master of the Musée de L’Assistance Publique’, named after the institution in Brussels where it is housed

The Adoration of the Magi (anglicized from the Matthean Vulgate Latin section title: A Magis adoratur) is the name traditionally given to the subject in the Nativity of Jesus in art in which the three Magi, represented as kings, especially in the West, having found Jesus by following a star, lay before him gifts of gold, frankincense, and myrrh, and worship him. The Adoration of the Magi

Pieter Coecke van Aelst or Pieter Coecke van Aelst the Elder (Aalst, 14 August 1502 — Brussels, 6 December 1550) was a Flemish painter, sculptor, architect, author and designer of woodcuts, stained glass and tapestries. His principal subjects were Christian religious themes. He worked in Antwerp and Brussels and was appointed court painter to Charles V, Holy Roman Emperor.

Coecke van Aelst was a polyglot. He published translations of Ancient Roman and modern Italian architectural treatises into Flemish, French and German. These publications played a crucial role in spreading Renaissance ideas to the Low Countries. They contributed to the transition in Northern Europe from the late Gothic style then prevalent towards a modern ‘antique-oriented’ architecture. More on Pieter Coecke van Aelst

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, 365 Saints and 365 Days, 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.

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16 Works, October 15th. is Juan Bautista Maíno’s day, his art, illustrated with footnotes #223

Fray Juan Bautista Maíno, Pastrana, 1581 – Madrid, 1649
Pentecost: the descent of the Holy Spirit
Oil on canvas
Private collection

When the day of Pentecost had come, they were all together in one place. And suddenly from heaven there came a sound like the rush of a violent wind, and it filled the entire house where they were sitting. Divided tongues, as of fire, appeared among them, and a tongue rested on each of them. All of them were filled with the Holy Spirit and began to speak in other languages, as the Spirit gave them ability. More on this painting

Friar Juan Bautista Maíno, or Mayno (October 1581, Pastrana — 1 April 1649, Madrid) was a Spanish Baroque painter…

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19 Works, July 19th. is Gerbrand van den Eeckhout’s day, his story, illustrated with footnotes #196

Gerbrand van den Eeckhout
Adoration of the Magi
Oil on canvas
111 x 146 cm
Private collection

The Adoration of the Magi (anglicized from the Matthean Vulgate Latin section title: A Magis adoratur) is the name traditionally given to the subject in the Nativity of Jesus in art in which the three Magi, represented as kings, especially in the West, having found Jesus by following a star, lay before him gifts of gold, frankincense, and myrrh, and worship him. More on the Adoration of the Magi

Gerbrand van den Eeckhout (19 August 1621–29 September 1674), was a Dutch Golden Age painter and a favourite student of Rembrandt. He was also an etcher, an amateur poet, a collector and an adviser on art…

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Aloïse Corbaz; Adoration of the Mages 01 Work, CONTEMPORARY Interpretation of the Bible! With Footnotes – # 38

Aloïse Corbaz (1886-1964)
Adoration of the Mages, c. 1960-1963
Chalks on paper
13 x 3 15/16 in
Private collection

The Adoration of the Magi (anglicized from the Matthean Vulgate Latin section title: A Magis adoratur) is the name traditionally given to the subject in the Nativity of Jesus in art in which the three Magi, represented as kings, especially in the West, having found Jesus by following a star, lay before him gifts of gold, frankincense, and myrrh, and worship him. The Adoration of the Magi
Aloïse Corbaz (28 June 1886 – 5 April 1964) was a Swiss outsider artist included in Jean Dubuffet’s initial collection of psychiatric art. She is one of very few acclaimed female outsider artists.
Corbaz was born in Lausanne, Switzerland. She earned her baccalauréat in 1906. Although she dreamt of becoming a singer, Aloïse worked as a dressmaker until leaving for Germany in 1911. She eventually found work as a teacher and a governess, in Potsdam, at the court of German Kaiser Wilhelm II. While there, she developed an obsessive romantic passion for the Kaiser. The start of World War I necessitated Aloïse’s return to Switzerland. Her imaginary romance with the Kaiser continued, leading to her being diagnosed with schizophrenia and committed to the asylum at Cery-sur-Lausanne in 1918. In 1920 she was moved to an annex of the hospital, la Rosiere a Gimet, where she remained until her death in 1964
She started drawing and writing poetry in secret circa 1920, but most of her early work has been destroyed; director of the hospital Hans Steck and general practitioner Jacqueline Porret-Forel first took an interest in 1936, and her work was finally discovered by Dubuffet in 1947. He believed Aloïse cured herself by ceasing to fight against her illness, by choosing to cultivate it and make use of it instead.

Her work is erotic, consisting primarily of beautiful women with voluptuous curves and flowing hair attended by lovers in military uniform. She used the vivid colors of crayons, pencils, and flower juice to fill entire sheets of paper. Her compulsion to make marks on every inch of paper is a “horror vacui” remarkably similar to that of Adolf Wölfli. More on Aloïse Corbaz

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 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.

Austrian School, The Adoration of the Magi 01 Work, Interpretation of the bible, With Footnotes – 184

Austrian School, circa 1480
The Adoration of the Magi
oil on panel
131.5 x 99.2cm (51 3/4 x 39 1/16in).
Private collection

The Adoration of the Magi (anglicized from the Matthean Vulgate Latin section title: A Magis adoratur) is the name traditionally given to the subject in the Nativity of Jesus in art in which the three Magi, represented as kings, especially in the West, having found Jesus by following a star, lay before him gifts of gold, frankincense, and myrrh, and worship him. The Adoration of the Magi

North of the European Alps an artistic, literary, and philosophical movement grew that was influenced by the spread of the Italian Renaissance’s art and ideas.

The present altarpiece is very close in style to the so-called Master of the Habsburgs.

From around 1803 due to widespread secularization large numbers of German monasteries lost thousands of altarpieces, stained glass and sculptures which were confiscated and then disposed of by local dukes and kings. More on Austrian School, circa 1480

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, And 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.

01 Works, RELIGIOUS ART – Interpretation of the Bible! by the Old Masters, With Footnotes – 81

Luca Giordano, 1634 – 1705

The Adoration Of The Magi

This Adoration of the Magi by Luca Giordano is likely to date to 1687–89, when the artist was working in Naples before departing for Spain in 1692. Giordano’s skill in depicting a scene that incorporates such a rich panoply of figures resides in his ability to unify different elements within the composition’s broad panorama while retaining many visually arresting components and lively brushwork. More on this painting

The Adoration of the Magi (anglicized from the Matthean Vulgate Latin section title: A Magis adoratur) is the name traditionally given to the subject in the Nativity of Jesus in art in which the three Magi, represented as kings, especially in the West, having found Jesus by following a star, lay before him gifts of gold, frankincense, and myrrh, and worship him. The Adoration of the Magi

Luca Giordano (18 October 1634 – 12 January 1705) was an Italian late Baroque painter and printmaker in etching. Fluent and decorative, he worked successfully in Naples and Rome, Florence and Venice, before spending a decade in Spain.

Born in Naples, Giordano was the son of the painter Antonio Giordano. In around 1650 he was apprenticed to Ribera, and his early work was heavily influenced by his teacher. Like Ribera, he painted many half-length figures of philosophers, either imaginary portraits of specific figures, or generic types.

He acquired the nickname Luca fa presto, which translates into “Luca paints quickly.” His speed, in design as well as handiwork, and his versatility, which enabled him to imitate other painters deceptively, earned for him two other epithets, “The Thunderbolt” (Fulmine) and “The Proteus” of painting.

Following a period studying in Rome, Parma and Venice, Giordano developed an elaborate Baroque style fusing Venetian and Roman Influences. His mature work combines the ornamental pomp of Paul Veronese with the lively complex schemes, the “grand manner”, of Pietro da Cortona. He is also noted for his lively and showy use of colour. More Luca Giordano

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