44 Paintings, RELIGIOUS ART – Paintings and Stories of The Angels; Saint Michael, Archangel, and Chief Commander, with footnotes, #22

Spinello Aretino, 1345-52; died 1410
Saint Michael and Other Angels, c. 1408-10

Arezzo Fresco Fragments
Fresco (with areas of secco) transferred to canvas
116.2 x 170.2 cm
The National Gallery, London

This and other fragments in the Collection are from a large fresco of the ‘Fall of Lucifer’ which was painted for S. Michele Arcangelo in Arezzo, Italy. The scene shows Saint Michael and other angels fighting a war in heaven. The battle took place before God who was originally shown enthroned above, while Lucifer’s agents plunge to earth below. More on this fresco

Spinello Aretino, (born c. 1346, Commune of Arezzo — died March 14, 1410, Arezzo) late Gothic Italian painter noteworthy for his vigorous narrative sense. His style anticipates the realistic painting of the early Renaissance of the 15th century. Early in his career he came under the influence of Orcagna and Nardo di Cione, whose style shows in his first major work, a fresco cycle in San Francesco at Arezzo…

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06 works, Today, October 6th, is Saint Placid’s day, his story illustrated #278

Diego Velázquez, (1599–1660)
Thomas the Apostle, between 1619 and 1620
Oil on canvas
Height: 94 cm (37 in); Width: 73 cm (28.7 in)
Orleans Museum of Fine Arts, Orleans, France

The Apostle Thomas, also called Didymus, was born in the Galileian city of Pansada and was a fisherman. When he was still young, he drew apart from the noisy games of his companions to devote himself to reading and meditating upon the Scriptures. Hearing the tidings of Jesus Christ, he left all and followed after him…

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07 works, Today, September 21st, is The Prophet Jonah’s day, his story illustrated #263

Unknown author, Attributed to Iran
Jonah and the Whale, circa 1400

Folio from a Jami al-Tavarikh (Compendium of Chronicles)
H. 13 1/4 in. (33.7 cm), W. 19 1/2 in. (49.5 cm)
Ink, gouache, gold and silver on paper
Metropolitan Museum of Art

Jonah the son of Amitai, who, as a prophet disciple, had anointed Jehu and who, therefore, enjoyed the king’s benevolence. Once God commanded Jonah to go to Nineveh, one of the largest cities of that time and foretell its destruction, because the evil of its inhabitants had reached the limit…

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05 Works, Today, May 13th is Virgin-martyr Glyceria’s day, With Footnotes – #134

Saint Glyceria of Heraclea2 (1)
Unknown artist
Holy Virgin-martyr Glykeria at Heraclea (141)

Glykeria, the holy martyr of Christ, was in her prime during the years of Emperor Antoninus (138–161), and when Savinos was governor of Trajanopolis in Thrace. Hailing from Trani, a seaport in the province of Bari on the Adriatic Sea, she was the daughter of a high-ranking Roman official. Upon her father’s death, she became poor and departed for Trajanopolis…

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Peter Paul Rubens, The Calydonian boar hunt 01 Painting, Olympian deities, by the artists of their time, with footnotes #42

Peter_Paul_Rubens_-_La_Chasse_au_sanglier
Peter Paul Rubens, (1577–1640)
La Chasse au sanglier, The Calydonian boar hunt, between circa 1615 and circa 1616
Oil on canvas
Height: 250 cm (98.4 ″); Width: 320 cm (10.4 ft)
Musée des beaux-arts de Marseille

The Calydonian or Aetolian Boar is one of the monsters of Greek mythology that had to be overcome by heroes of the Olympian age. Sent by Artemis to ravage the region of Calydon in Aetolia because its king failed to honour her in his rites to the gods, it was killed in the Calydonian Hunt, in which many male heroes took part, but also a powerful woman, Atalanta, who won its hide by first wounding it with an arrow. This outraged some of the men, with tragic results. Strabo was under the impression that the Calydonian Boar was an offspring of the Crommyonian Sow vanquished by Theseus. More on the Calydonian boar hunt

Sir Peter Paul Rubens (28 June 1577 – 30 May 1640) was a Flemish Baroque painter. A proponent of an extravagant Baroque style that emphasized movement, colour, and sensuality, Rubens is well known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.

In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically educated humanist scholar and diplomat who was knighted by both Philip IV of Spain and Charles I of England.  More Sir Peter Paul Rubens





Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artistsand visit my Boards on Pinterest

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09 Works, Today, January 20th, Saint Sebastian’s Day, With Footnotes – 20

Peter Paul Rubens (1577–1640)
Peter Paul Rubens, (1577–1640)
St. Sebastian, circa 1614
Oil on canvas
Height: 200 cm (78.7 ″); Width: 120 cm (47.2 ″)
Gemäldegalerie, Berlin

Sir Peter Paul Rubens (28 June 1577 – 30 May 1640) was a Flemish Baroque painter. A proponent of an extravagant Baroque style that emphasized movement, colour, and sensuality, Rubens is well known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.

In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically educated humanist scholar and diplomat who was knighted by both Philip IV of Spain and Charles I of England.  More Sir Peter Paul Rubens

 

Saint Sebastian (died c. 288 AD)was an early Christian saint and martyr. Sebastian had prudently concealed his faith, but in 286 was detected. Diocletian reproached him for his betrayal, and he commanded him to be led to a field and there to be bound to a stake so that archers from Mauritania would shoot arrows at him. “And the archers shot at him till he was as full of arrows as an urchin is full of pricks, and thus left him there for dead.” Miraculously, the arrows did not kill him…

 

 

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Studio of Peter Paul Rubens, The Battle of the Amazons 01 Painting, Olympian deities, by the Old Masters, with footnotes #41

Studio of Peter Paul Rubens, (Siegen 1577–1640 Antwerp)
The Battle of the Amazons

Oil on canvas
166 x 195 cm
Private collection

In Greek mythology, the Amazons were a race of woman warriors.

The legendary Amazons were thought to have lived in Pontus, which is part of modern-day Turkey near the southern shore of the Black Sea. There they formed an independent kingdom under the government of a queen named Hippolyta or Hippolyte. This area is known to have been occupied in the Late Bronze Age by a transhumant group known to the Hittites as the Kaŝka; though they were not directly known to Greeks, modern archaeologists have determined that they finally defeated their enemies, the Hittites, about 1200 BC. According to Plutarch, the Amazons lived in and about the Don river, which the Greeks called the Tanais; but which was called by the Scythians the “Amazon”. The Amazons later moved to Terme on the River Thermodon, northern Turkey. More on the Amazons

Sir Peter Paul Rubens (28 June 1577 – 30 May 1640) was a Flemish Baroque painter. A proponent of an extravagant Baroque style that emphasized movement, colour, and sensuality, Rubens is well known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.

In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically educated humanist scholar and diplomat who was knighted by both Philip IV of Spain and Charles I of England.  More Sir Peter Paul Rubens

Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The Orientalist, and The Canals of Venice

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Peter Paul Rubens, Perseus and Andromeda 01 Painting, Olympian deities, by the Old Masters, with footnotes #36

Peter Paul Rubens
Perseus and Andromeda, c. 1639

Oil on Canvas
Height: 223 cm.; Width: 163 cm.
Museo Nacional del Prado

In Greek mythology, Andromeda is the daughter of the Aethiopian king Cepheus and his wife Cassiopeia. When Cassiopeia’s hubris leads her to boast that Andromeda is more beautiful than the Nereids, Poseidon sends a sea monster, Cetus, to ravage Aethiopia as divine punishment. Andromeda is stripped and chained naked to a rock as a sacrifice to sate the monster, but is saved from death by Perseus. More on Perseus and Andromeda

Sir Peter Paul Rubens (28 June 1577 – 30 May 1640) was a Flemish Baroque painter. A proponent of an extravagant Baroque style that emphasized movement, colour, and sensuality, Rubens is well known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.

In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically educated humanist scholar and diplomat who was knighted by both Philip IV of Spain and Charles I of England.  More Sir Peter Paul Rubens

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

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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.

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09 Works, RELIGIOUS ART – Today, January 20th, Saint Sebastian’s Day, With Footnotes – 20

Peter Paul Rubens, (1577–1640)
St. Sebastian, circa 1614

Oil on canvas
Height: 200 cm (78.7 ″); Width: 120 cm (47.2 ″)
Gemäldegalerie, Berlin

Peter Paul Rubens, (1577–1640)St. Sebastian, circa 1614Oil on canvas

Sir Peter Paul Rubens (28 June 1577 – 30 May 1640) was a Flemish Baroque painter. A proponent of an extravagant Baroque style that emphasized movement, colour, and sensuality, Rubens is well known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.

In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically educated humanist scholar and diplomat who was knighted by both Philip IV of Spain and Charles I of England.  More Sir Peter Paul Rubens

Saint Sebastian (died c. 288 AD) was an early Christian saint and martyr. Sebastian had prudently concealed his faith, but in 286 was detected. Diocletian reproached him for his betrayal, and he commanded him to be led to a field and there to be bound to a stake so that archers from Mauritania would shoot arrows at him. “And the archers shot at him till he was as full of arrows as an urchin is full of pricks, and thus left him there for dead.” Miraculously, the arrows did not kill him.

Please follow link to full post

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.

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Peter Paul Rubens, Meleager presenting the head of the Calydonian Boar to Atalant 01 Painting, Olympian deities, by the Old Masters, with footnotes # 11c

Peter Paul Rubens (1)

Peter Paul Rubens, 1577 – 1640

Meleager presenting the head of the Calydonian Boar to Atalant

oil on panel

76 x 57.5 cm

Private collection

The goddess Artemis or Dianne was infuriated by the King of Calydon’s disrespect for her and had sent an enormous boar to ravage the fields of Calydon. Meleager and Atalanta hunted the Calydonian boar and fell in love during the hunt. When Meleager assisted by Atalanta killed the boar, he offered the boar’s head to Atalanta as a gesture of love. Meleager’s uncles were however deeply offended and in the fight that followed Meleager killed them. Meleager’s mother Althaea became angry and placed the log she had hidden away since Meleager’s birth back on the fire. As a result the Fates’ prophecy came true and Meleager died. More on this Painting

Sir Peter Paul Rubens (28 June 1577 – 30 May 1640) was a Flemish Baroque painter. A proponent of an extravagant Baroque style that emphasized movement, colour, and sensuality, Rubens is well known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.

In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically educated humanist scholar and diplomat who was knighted by both Philip IV of Spain and Charles I of England.  More Sir Peter Paul Rubens

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.

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Peter Paul Rubens, 1577 – 1640, Minerva protects Pax from Mars (‘Peace and War’), c. 1629-30 01 Paintings, Olympian deities, by the Old Masters, with footnotes, #10b

Peter Paul Rubens, 1577 – 1640

Minerva protects Pax from Mars (‘Peace and War’), c. 1629-30

Oil on canvas

203.5 x 298 cm

The National Gallery, Trafalgar Square, London

Minerva drives away Mars, god of war, in Rubens’ powerful anti-war painting, a visual plea for peace between England and Spain in 1630, presented as a gift to Charles I from Philip IV

The painting was probably executed in England in 1629-30, illustrating Rubens’s hopes for the peace he was trying to negotiate between England and Spain in his role as envoy to Philip IV of Spain. Rubens presented the finished work to Charles I of England as a gift.

The central figure represents Pax (Peace) in the person of Ceres, goddess of the earth, sharing her bounty with the group of figures in the foreground. The children have been identified as portraits of the children of Rubens’s host, Sir Balthasar Gerbier, a painter-diplomat in the service of Charles I. 

To the right of Pax is Minerva, goddess of wisdom. She drives away Mars, the god of war, and Alecto, the fury of war. A winged cupid and the god of marriage, Hymen, lead the children (the fruit of marriage) to a cornucopia, or horn of plenty. The satyr and leopard are part of the entourage of Bacchus, another fertility god, and leopards also draw Bacchus’s chariot. Two nymphs or maenads approach from the left, one brings riches, the other dances to a tambourine. A putto holds an olive wreath, symbol of peace, and the caduceus of Mercury, messenger of the gods. More om this painting

Sir Peter Paul Rubens (28 June 1577 – 30 May 1640) was a Flemish Baroque painter. A proponent of an extravagant Baroque style that emphasized movement, colour, and sensuality, Rubens is well known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.

In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically educated humanist scholar and diplomat who was knighted by both Philip IV of Spain and Charles I of England.  More Sir Peter Paul Rubens

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9 Works, PORTRAIT OF A LADY, Cleopatra, over the ages, by the artists of their time, with footnotes, #37

 Statue of queen Cleopatra VII

Ptolemaic Dynasty

Basalt

h. 104,7 cm

Hermitage, Saint Petersburg


Cleopatra VII ruled ancient Egypt as co-regent for almost three decades. She became the last in a dynasty of Macedonian rulers founded by Ptolemy, who served as general under Alexander the Great during his conquest of Egypt in 332 B.C. Well-educated and clever, Cleopatra could speak various languages and served as the dominant ruler in all three of her co-regencies. Her romantic liaisons and military alliances with the Roman leaders Julius Caesar and Mark Antony, as well as her supposed exotic beauty and powers of seduction, earned her an enduring place in history and popular myth.

Rembrandt Harmensz. van Rijn. 1606-1669

Woman with the Arrow (“Cleopatra”?), c. 1661

Etching, engraving and dry point

205×123 mm

Hermitage, Saint Petersburg

In 51 B.C., upon the apparently natural death of her father Ptolemy XII, the Egyptian throne passed to 18-year-old Cleopatra and her 10-year-old brother, Ptolemy XIII. Soon after the siblings’ ascension to the throne, Ptolemy’s advisers acted against Cleopatra, who was forced to flee Egypt for Syria in 49 B.C. 


She raised an army of mercenaries and returned the following year to face her brother’s forces at Pelusium, on Egypt’s eastern border. Meanwhile, after allowing the Roman general Pompey to be murdered, Ptolemy XIII welcomed the arrival of Pompey’s rival, Julius Caesar, to Alexandria. In order to help her cause, Cleopatra sought Caesar’s support, reportedly smuggling herself into the royal palace to plead her case with him.


CAESAR AND CLEOPATRA

For his part, Caesar needed to fund his own return to power in Rome, and needed Egypt to repay the debts incurred by Auletes. After four months of war between Caesar’s outnumbered forces and those of Ptolemy XIII, Roman reinforcements arrived; Ptolemy was forced to flee Alexandria, and was believed to have drowned in the Nile River. Entering Alexandria as an unpopular conqueror, Caesar restored the throne to the equally unpopular Cleopatra and her younger brother Ptolemy XIV (then 13 years old). Caesar remained in Egypt with Cleopatra for a time, and around 47 B.C. she gave birth to a son, Ptolemy Caesar. He was believed to be Caesar’s child, and was known by the Egyptian people as Caesarion, or Little Caesar.

Reliefs of Cleopatra VII

Caesarion at the Dendera Temple


Sometime in 46-45 B.C., Cleopatra traveled with Ptolemy XIV and Caesarion to Rome to visit Caesar, who had returned earlier. 

After Caesar was murdered in March 44 B.C., Cleopatra went back to Egypt; Ptolemy XIV died soon after, and the three-year-old Caesarion was named co-regent with his mother, as Ptolemy XV. By this point, Cleopatra had strongly identified herself with the goddess Isis, the sister-wife of Osiris and mother of Horus. 


With her infant son as co-regent, Cleopatra’s hold on power in Egypt was more secure than it had ever been. Still, unreliable flooding of the Nile resulted in failing crops, leading to inflation and hunger. Meanwhile, a conflict was raging in Rome between a second triumvirate of Caesar’s allies (Mark Antony, Octavian and Lepidus) and his assassins, Brutus and Cassius. Both sides asked for Egyptian support, and after some stalling Cleopatra sent four Roman legions stationed in Egypt by Caesar to support the triumvirate. In 42 B.C., after defeating the forces of Brutus and Cassius in the battles of Philippi, Mark Antony and Octavian divided power in Rome.

Charles-Joseph Natoire, (1700-1777)

The Arrival of Cleopatra in Tarsus, c. 1756

Oil on canvas

 Museum of Fine Arts in Nîmes

Charles-Joseph Natoire, (French, 1700 – 1777)French Rococo painter. He was born on 3 March 1700. Son of an architect from Nîmes, he trained under Louis Galloche and François Lemoyne.

He was one of the youngest recipients of the Prix de Rome, winning the prize in 1721 for his Manoah Making a Sacrifice to God to have a Son.

At his return, he became one of the most prominent painters of the country, challenging his friend Boucher, who had a very similar style. Natoire however specialised in creating decorative ensembles for prestigious patrons, including the famous Story of Psyche for the Hôtel of the Duke of Rohan in Paris.

He was appointed academician on 31 December 1734. Then he had an important career, being promoted Adjunct Professor on 2 July 1735, Professor on 2 July 1737, and finally Director of the French Academy in Rome from 1751 to 1775. He subsequently gave up painting after his final departure to Rome and instead drew many landscapes of the Roman countryside. He died in Rome on 23 August 1777. More


Mark Antony soon summoned Cleopatra to the Sicilian city of Tarsus (south of modern Turkey) to explain the role she had played in the complicated aftermath of Caesar’s assassination. According to the story recorded by Plutarch, Cleopatra sailed to Tarsus in an elaborate ship, dressed in the robes of Isis. Antony, who associated himself with the Greek deity Dionysus, was seduced by her charms. He agreed to protect Egypt and Cleopatra’s crown, pledging support for the removal of her younger sister and rival Arsinoe, then in exile. Cleopatra returned to Egypt, followed shortly thereafter by Antony, who left behind his third wife, Fulvia, and their children in Rome. He spent the winter of 41-40 B.C. in Alexandria, during which he and Cleopatra famously formed a drinking society called “The Inimitable Livers.” In 40 B.C., after Antony’s return to Rome, Cleopatra gave birth to twins, Alexander Helios (sun) and Cleopatra Selene (moon).

John William Waterhouse, (1849–1917)

Cleopatra, c. 1888

Oil on canvas

Private collection

John William Waterhouse (April 6, 1849 – February 10, 1917) was an English painter known for working in the Pre-Raphaelite style. He worked several decades after the breakup of the Pre-Raphaelite Brotherhood, which had seen its heyday in the mid-nineteenth century, leading to his sobriquet “the modern Pre-Raphaelite”. Borrowing stylistic influences not only from the earlier Pre-Raphaelites but also from his contemporaries, the Impressionists, his artworks were known for their depictions of women from both ancient Greek mythology and Arthurian legend.

Born in Italy to English parents who were both painters, he later moved to London, where he enrolled in the Royal Academy of Art. He soon began exhibiting at their annual summer exhibitions, focusing on the creation of large canvas works depicting scenes from the daily life and mythology of ancient Greece. Later on in his career he came to embrace the Pre-Raphaelite style of painting despite the fact that it had gone out of fashion in the British art scene several decades before. More


After Fulvia took ill and died, Antony was forced to prove his loyalty to Octavian by making a diplomatic marriage with Octavian’s half-sister Octavia. Egypt grew more prosperous under Cleopatra’s rule, and in 37 B.C. Antony again met with Cleopatra to obtain funds for his long-delayed military campaign against the kingdom of Parthia. In exchange, he agreed to return much of Egypt’s eastern empire, including Cyprus, Crete, Cyrenaica (Libya), Jericho and large portions of Syria and Lebanon. They again became lovers, and Cleopatra gave birth to another son, Ptolemy Philadelphos, in 36 B.C.


After a humiliating defeat in Parthia, Antony publicly rejected his wife Octavia’s efforts to rejoin him and instead returned to Egypt and Cleopatra. In a public celebration in 34 B.C. known as the “Donations of Alexandria,” Antony declared Caesarion as Caesar’s son and rightful heir (as opposed to his adopted son, Octavian) and awarded land to each of his children with Cleopatra. This began a war of propaganda between him and the furious Octavian, who claimed that Antony was entirely under Cleopatra’s control and would abandon Rome and found a new capital in Egypt. In late 32 B.C., the Roman Senate stripped Antony of all his titles, and Octavian declared war on Cleopatra.


On September 2, 31 B.C., Octavian’s forces soundly defeated those of Antony and Cleopatra in the Battle of Actium. Cleopatra’s ships deserted the battle and fled to Egypt, and Antony soon managed to break away and follow her with a few ships. With Alexandria under attack from Octavian’s forces, Antony heard a rumor that Cleopatra had committed suicide. He fell on his sword, and died just as news arrived that the rumor had been false.

Peter Paul Rubens, (1577–1640)

Cleopatra/ Hygeia, Goddess of Health, circa 1615

Oil on oak

Height: 130 cm (51.2 in). Width: 74 cm (29.1 in).

National Gallery in Prague

Peter Paul Rubens, (1577–1640)

Hygeia, Goddess of Health, circa 1615

Oil on oak

106.2 × 74.3 cm (41.8 × 29.3 in)

Detroit Institute of Arts

Sir Peter Paul Rubens (28 June 1577 – 30 May 1640) was a Flemish Baroque painter. A proponent of an extravagant Baroque style that emphasized movement, colour, and sensuality, Rubens is well known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.

In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically educated humanist scholar and diplomat who was knighted by both Philip IV of Spain and Charles I of England. More

Hans Makart, (1840–1884)

The Death of Cleopatra, c. 1875

Medium oil on panel

D122.5 × 83 cm (48.2 × 32.7 in)

Private collection

Hans Makart, (1840–1884)

The Death of Cleopatra, c. 1875-1876

Oil on canvas

New Gallery (Kassel)

Hans Makart (Austrian, 1840 – 1884), was a Austrian academic history painter, designer, and decorator. Studied under Josef Schiffmann and Karl Theodor von Piloty.

Son of a chamberlain at Mirabell castle. After a short study at the Academy in Vienna he was educated by Karl Theodor von Piloty in Munich (1860-1865) and travelled to London, Paris and Rome to study. He returned to Vienna after the prince Von Hohenlohe provided him with an old foundry to use as a studio. It gradually turned it into an impressive place full of sculptures, flowers, musical instruments, requisites and jewellery that he used to create classical settings for his portraits, mainly of women. Eventually his studio looked like a salon and became a social meeting point in Vienna. Makart became famous for his richly coloured history paintings and enjoyed his finest hour in 1879 with his painting of the procession in honour of the silver anniversary of the marriage of emperor Francis Joseph and his wife Elisabeth. In the same year he became a Professor at the Academy. Makart also designed furniture and interiors. More Hans Makart 

On August 12, 30 B.C., after burying Antony and meeting with the victorious Octavian, Cleopatra closed herself in her chamber with two of her female servants. The means of her death is uncertain, but Plutarch and other writers advanced the theory that she used a poisonous snake known as the asp, a symbol of divine royalty. According to her wishes, Cleopatra’s body was buried with Antony’s, leaving Octavian (later Emperor Augustus I) to celebrate his conquest of Egypt and his consolidation of power in Rome.





Acknowledgement: HistoryWikipedia,


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08 Paintings, RELIGIOUS ART – Interpretations of the Bible! by The Old Masters, With Footnotes # 63

School of Sir Anthony van Dyck

Madonna and Child 

Oil on canvas 

34 3/4 x 28 1/2 inches (88.3 x 72.5 cm) 

Private collection

The Nursing Madonna, Virgo Lactans, or Madonna Lactans, is an iconography of the Madonna and Child in which the Virgin Mary is shown breastfeeding the infant Jesus.

The depiction is mentioned by Pope Gregory the Great, and a mosaic depiction probably of the 12th century is on the facade of Santa Maria in Trastevere in Rome, though few other examples survive from before the late Middle Ages. It continued to be found in Orthodox icons, especially in Russia.

In the Middle Ages, the middle and upper classes usually contracted breastfeeding out to wetnurses, and the depiction of the Nursing Madonna was linked with the Madonna of Humility, a depiction that showed the Virgin in more ordinary clothes than the royal robes shown, for instance, in images of the Coronation of the Virgin, and often seated on the ground. The appearance of a large number of such depictions in Tuscany in the early 14th century was something of a visual revolution for the theology of the time, compared to the Queen of Heaven depictions. After the Council of Trent in the mid-16th century, clerical writers discouraged nudity in religious subjects, and the use of the Madonna Lactans iconography began to fade away. More on the nursing Madonna

Sir Anthony van Dyck, ( 22 March 1599 – 9 December 1641) was a Flemish Baroque artist who became the leading court painter in England, after enjoying great success in Italy and Flanders. He is most famous for his portraits of Charles I of England and his family and court, painted with a relaxed elegance that was to be the dominant influence on English portrait-painting for the next 150 years. He also painted biblical and mythological subjects, displayed outstanding facility as a draughtsman, and was an important innovator in watercolour and etching. The Van Dyke beard is named after him. More Sir Anthony van Dyck

William-Adolphe Bouguereau, (1825–1905)

Berceuse (Le coucher), c. 1873

Oil on canvas

112 x 86.5 cm

Private collection

Starting in 1865, Bouguereau became enamored with the theme of mothers and children and began a series of paintings dedicated to this subject matter. 

Berceuse (Le coucher) was painted in the artist’s Paris studio in 1873. In the present painting, a young Roman mother holds a naked infant and is gently moving him into his cradle. The central group is framed by the draped cradle to the left of the composition and the large stone fireplace that dominates the background. The figures, clearly a secularized interpretation of a Virgin and ChildMore on this painting

William-Adolphe Bouguereau (November 30, 1825 – August 19, 1905) was a French academic painter and traditionalist. In his realistic genre paintings he used mythological themes, making modern interpretations of classical subjects, with an emphasis on the female human body. During his life he enjoyed significant popularity in France and the United States, was given numerous official honors, and received top prices for his work. As the quintessential salon painter of his generation, he was reviled by the Impressionist avant-garde. By the early twentieth century, Bouguereau and his art fell out of favor with the public, due in part to changing tastes. In the 1980s, a revival of interest in figure painting led to a rediscovery of Bouguereau and his work. Throughout the course of his life, Bouguereau executed 822 known finished paintings, although the whereabouts of many are still unknown. More William-Adolphe Bouguereau

Joaquín Sorolla y Bastida, Valencia, 1863 – Cercedilla, Madrid, 1923

Saint in Prayer, 1888

Oil on canvas

78 x 61 cm

Museo Nacional del Prado

For Sorolla and his wife, the time spent in Italy formed part of the years at the beginning of their relationship when they confronted their first difficulties together. As late as 1915, nearly thirty years after this trip, Sorolla noted in a letter to his wife that he had ‘ordered a little frame for the Virgin you gave me when I left Spain to study in Rome. I think it looks good on it and will make me less likely to lose an object which I keep with me at all times.’ Known as Praying Saint, this picture also bears the evocative title of Figure of an Italian Saint for its obvious connections with that period, and it must have been one of the memories the couple treasured from that time. This would explain why they always kept it in a special place in their house, as revealed by many of the photographs of the artist’s various studios and dwellings. More on this painting

Joaquín Sorolla y Bastida (27 February 1863 – 10 August 1923) was a Spanish painter. Sorolla excelled in the painting of portraits, landscapes, and monumental works of social and historical themes. His most typical works are characterized by a dexterous representation of the people and landscape under the sunlight of his native land. More on Joaquín Sorolla y Bastida

Peter Paul Rubens, (1577–1640)

Daniel in the Lions’ Den, between circa 1614 and circa 1616

Oil on canvas

224.2 × 330.5 cm (88.3 × 130.1 in)

National Gallery of Art

The Old Testament recounts how the Persian king Darius I “The Great” (550–486 BC) condemned the devout and steadfast Daniel to spend the night in a lions’ den for worshipping God rather than him. The following morning, after the stone sealing the entrance was rolled away, the astonished Persians saw Daniel, very much alive, giving thanks to God for keeping him safe overnight: “Then said Daniel unto the king, O king, live for ever. My God hath sent his angel, and hath shut the lions’ mouths, that they have not hurt me: forasmuch as before him innocency was found in me; and also before thee, O king, have I done no hurt.” (Daniel 6:21–22) For theologians, Daniel’s miraculous survival in the cave symbolized the resurrection of Christ from his tomb, and the promise of God’s protection to those of unwavering faith. More on this painting

Flemish School, 17th Century, Follower Peter Paul Rubens

Daniel in the lion’s den

Oak panel

9 5/8 x 12 in

Private collection

Sir Peter Paul Rubens (28 June 1577 – 30 May 1640) was a Flemish Baroque painter. A proponent of an extravagant Baroque style that emphasized movement, colour, and sensuality, Rubens is well known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.

In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically educated humanist scholar and diplomat who was knighted by both Philip IV of Spain and Charles I of England.  More Sir Peter Paul Rubens

Attributed to Marco Pino Siena, 1521 – Naples, 1583 

Holy Family with St. John the Baptist 

Oil on panel 

h: 65.50 w: 57 cm

Private collection


Marco Pino or Marco da Siena (1521–1583) was an Italian painter of the Renaissance and Mannerist period. Born and first trained in Siena, he later worked in Rome and in Naples, where he died. He was putatively a pupil of the painters Beccafumi and Daniele da Volterra. 


Among his pupils in Messina was his son-in-law, Antonio Spanò . Fabrizio Santafede was his pupil in Naples. More on Marco Pino

Tuscan school of the sixteenth century 

Maria Madgalena, Tuscany, 16th Century 

Oil on panel 

h: 97 w: 71 cm 

Private collection

Mary Magdalene was a Jewish woman who, according to texts included in the New Testament, traveled with Jesus as one of his followers. She is said to have witnessed Jesus’ crucifixion and resurrection. Based on texts of the early Christian era in the third century, it seems that her status as an “apostle” rivals even Peter’s.

She is most prominent in the narrative of the crucifixion of Jesus, at which she was present. She was also present two days later, either alone or as a member of a group of women, the first to testify to the resurrection of Jesus.

Ideas that go beyond the gospel presentation of Mary Magdalene as a prominent representative of the women who followed Jesus have been put forward over the centuries.

During the Middle Ages, Mary Magdalene was regarded in Western Christianity as a repentant prostitute or promiscuous woman, claims not found in any of the four canonical gospels. More Mary Magdalene

Arts of the late 15th century and early 16th century were dominated by three men. They were Michelangelo, Raphael, and Leonardo da Vinci.

Michelangelo excelled as a painter, architect, and poet. In addition, he has been called the greatest sculptor in history. Raphael’s paintings are softer in outline and more poetic than those of Michelangelo. Raphael was skilled in creating perspective and in the delicate use of color. Leonardo da Vinci painted two of the most famous works of Renaissance art, the wallpainting The Last Supper and the portrait Mona Lisa. Due to his inquiring mind, Leonardo has become a symbol of the Renaissance spirit of learning and intellectual curiosity. More on Italian art

Seventeenth century Spanish school 

The martyrdom of San Sebastian 

Oil on canvas 

h: 160 w: 106 cm 

Private collection

Saint Sebastian (died c. 288 AD) was an early Christian saint and martyr. Sebastian had prudently concealed his faith, but in 286 was detected. Diocletian reproached him for his betrayal, and he commanded him to be led to a field and there to be bound to a stake so that archers from Mauritania would shoot arrows at him. “And the archers shot at him till he was as full of arrows as an urchin is full of pricks, and thus left him there for dead.” Miraculously, the arrows did not kill him.

Sebastian later stood by a staircase where the emperor was to pass and harangued Diocletian for his cruelties against Christians. This freedom of speech, and from a person whom he supposed to have been dead, greatly astonished the emperor; but, recovering from his surprise, he gave orders for his being seized and beat to death with cudgels, and his body thrown into the common sewer. A pious lady, called Lucina, admonished by the martyr in a vision, got it privately removed, and buried it in the catacombs at the entrance of the cemetery of Calixtus, where now stands the Basilica of St. Sebastian. More St. Sebastian

The Spanish Golden Age is a period of flourishing in arts and literature in Spain, coinciding with the political rise of the Spanish Habsburg dynasty. El Siglo de Oro does not imply precise dates and is usually considered to have lasted longer than an actual century. It begins no earlier than 1492, with the end of the Reconquista (Reconquest), the sea voyages of Christopher Columbus to the New World. Politically, it ends no later than 1659, with the Treaty of the Pyrenees, ratified between France and Habsburg Spain. The last great writer of the period, Pedro Calderón de la Barca, died in 1681, and his death usually is considered the end of El Siglo de Oro in the arts and literature. More on Seventeenth century Spanish school 

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07 Paintings, RELIGIOUS ART – Interpretations of the Bible! by The Old Masters, With Footnotes # 61

Central Italian School, 13th Century

Madonna and Child with Saint Peter and an Apostle

Tempera on canvas, laid down on panel

98 x 67.5 cm

Private collection

The present panel painting represents the enthroned Virgin Lactans. The Christ Child is shown holding a scroll in his left hand. Behind them, on a much smaller scale than the foreground group, are an un-identified apostle saint also holding a scroll, and Saint Peter with his characteristic attribute, keys. This refined painting belongs to a type of devotional production that derived from the abstracted, hieratic, Byzantine style, in which however it is possible to note, in contrast to the typically fixed rigidity of the Madonna, a greater degree of animation in the expressions of the apostles at her shoulders. More on this painting

The Nursing Madonna, Virgo Lactans, or Madonna Lactans, is an iconography of the Madonna and Child in which the Virgin Mary is shown breastfeeding the infant Jesus.

Saint Peter (AD 30; d. between AD 64 and 68), according to the New Testament, was one of the Twelve Apostles of Jesus Christ, leaders of the early Christian Church. He is also the “Apostle of the Apostles”. The Catholic Church considers him to be the first pope, ordained by Jesus in the “Rock of My Church” dialogue in Matthew. More on Saint Peter

In the Middle Ages, the middle and upper classes usually contracted breastfeeding out to wetnurses, and the depiction of the Nursing Madonna was linked with the Madonna of Humility, a depiction that showed the Virgin in more ordinary clothes than the royal robes shown, for instance, in images of the Coronation of the Virgin.  More on the nursing Madonna

 

Italian School, 13th Century. Italian painting began to develop beyond the influence of Byzantium in the Duecento or 13th century, with Cimabue, Duccio and Giotto, maintaining its lead throughout the Italian Renaissance, and reaching a particular peak in the High Renaissance of Leonardo da Vinci, Michelangelo and Raphael, despite great political turbulence. Italy retained its artistic dominance into the 17th century with Mannerism and the Baroque, and cultural tourism became a major prop to an otherwise faltering economy. More on Italian School, 13th Century

Anthony van Dyck, (1599–1641)

Maria with child and the saints Rosalia , Peter and Paul, c. 1629

Color on canvas

275 × 210 cm (108.3 × 82.7 in)

Kunsthistorisches Museum, Antwerp

Santa Rosalia is depicted on the right, before St. Mary

Saint Rosalia (1130–1166), is the patron saint of Palermo in Italy, and three towns in Venezuela: El Hatillo, Zuata, and Anzoátegui.

Rosalia was born of a Norman noble family that claimed descent from Charlemagne. Devoutly religious, she retired to live as a hermit in a cave on Mount Pellegrino, where she died alone in 1166. Tradition says that she was led to the cave by two angels. On the cave wall she wrote “I, Rosalia, daughter of Sinibald, Lord of Roses, and Quisquina, have taken the resolution to live in this cave for the love of my Lord, Jesus Christ.” In 1624, a plague beset Palermo. During this hardship Saint Rosalia appeared first to a sick woman, then to a hunter, to whom she indicated where her remains were to be found. She ordered him to bring her bones to Palermo and have them carried in procession through the city.

The hunter climbed the mountain and found her bones in the cave as described. He did what she had asked in the apparition. After her remains were carried around the city three times, the plague ceased. After this Saint Rosalia was venerated as the patron saint of Palermo, and a sanctuary was built in the cave where her remains were discovered. More on Saint Rosalia

Sir Anthony van Dyck, ( 22 March 1599 – 9 December 1641) was a Flemish Baroque artist who became the leading court painter in England, after enjoying great success in Italy and Flanders. He is most famous for his portraits of Charles I of England and his family and court, painted with a relaxed elegance that was to be the dominant influence on English portrait-painting for the next 150 years. He also painted biblical and mythological subjects, displayed outstanding facility as a draughtsman, and was an important innovator in watercolour and etching. The Van Dyke beard is named after him. More Sir Anthony van Dyck

Paul Gauguin,  (1848–1903)

The Yellow Christ, c. 1889

Oil on canvas

92.1 × 73 cm (36.3 × 28.7 in)

Albright-Knox Art Gallery, Buffalo, New York

The Yellow Christ is a painting executed by Paul Gauguin in 1889 in Pont-Aven. Together with The Green Christ (below), it is considered to be one of the key works of Symbolism in painting.

The Yellow Christ is a symbolic piece that shows the crucifixion of Christ taking place in nineteenth-century northern France as Breton women are gathered in prayer. Gauguin relies heavily on bold lines to define his figures and reserves shading only for the women. The autumn palette of yellow, red and green in the landscape echoes the dominant yellow in the figure of Christ. The bold outlines and flatness of the forms in this painting are typical of the cloisonnist style. More on the Yellow Christ

Paul Gauguin,  (1848–1903)

The Green Christ, or Breton Calvar, c. 1889

Oil on canvas

92 × 73 cm (36.2 × 28.7 in)

Royal Museums of Fine Arts of Belgium

The Green Christ depicts a Breton woman at the foot of a calvary, or sculpture of Christ’s crucifixion. Calvaries are common in town squares in Brittany.

Topographically, the site depicted is the Atlantic coast at Le Pouldu. But the calvary depicted is an amalgam of calvaires from different sites; the cross is based upon that in the centre of Névez, a community close to Pont-Aven and several miles from the coast. The figure of Christ is based upon the calvaire at Briec – also some distance from the sea. More on the Green Christ 

Christ of the church of Trémalo, at Pont-Aven

Seventeenth century

 189 x 133 cm

Gauguin first visited Pont-Aven in 1886. He returned to the village in early 1888 to stay until mid-October. Early in 1889, Gauguin was back to Pont-Aven to stay there until spring 1890. It was only for a short visit in summer 1889 to Paris to see the Exposition universelle and to arrange the Volpini Exhibition that Gauguin interrupted this sojourn. Soon after his return to Pont-Aven he painted The Yellow Christ.

Eugène Henri Paul Gauguin (7 June 1848 – 8 May 1903) was a French post-Impressionist artist. Underappreciated until after his death, Gauguin is now recognized for his experimental use of color and Synthetist style that were distinctly different from Impressionism. His work was influential to the French avant-garde and many modern artists, such as Pablo Picasso and Henri Matisse. Gauguin’s art became popular after his death.

He was an important figure in the Symbolist movement as a painter, sculptor, printmaker, ceramist, and writer. His bold experimentation with color led directly to the Synthetist style of modern art, while his expression of the inherent meaning of the subjects in his paintings, under the influence of the cloisonnist style, paved the way to Primitivism and the return to the pastoral. He was also an influential proponent of wood engraving and woodcuts as art forms. More on Eugène Henri Paul Gauguin

Circle Peter Paul Rubens

The Miracles of Saint Ignatius of Loyola

oil on copper

49.5 x 34.5 cm

Private collection

 

Saint Ignatius of Loyola (October 23, 1491 – July 31, 1556) was a Spanish Basque priest and theologian, who founded the religious order called the Society of Jesus (Jesuits) and became its first Superior General. The Jesuit order served the Pope as missionaries, and they were bound by a vow of special obedience to the sovereign pontiff in regard to the missions. They therefore emerged as an important force during the time of the Counter-Reformation.

Ignatius is remembered as a talented spiritual director. He recorded his method in a celebrated treatise called the Spiritual Exercises, a simple set of meditations, prayers, and other mental exercises, first published in 1548.

 Ignatius was beatified in 1609, and then canonized, receiving the title of Saint on March 12, 1622. His feast day is celebrated on July 31. He is the patron saint of the Basque provinces of Gipuzkoa and Biscay as well as the Society of Jesus, and was declared patron saint of all spiritual retreats by Pope Pius XI in 1922. Ignatius is also a foremost patron saint of soldiers. More on Saint Ignatius of Loyola

Sir Peter Paul Rubens (28 June 1577 – 30 May 1640) was a Flemish Baroque painter. A proponent of an extravagant Baroque style that emphasized movement, colour, and sensuality, Rubens is well known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.

In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically educated humanist scholar and diplomat who was knighted by both Philip IV of Spain and Charles I of England.  More Sir Peter Paul Rubens

Acknowledgement:    , and others


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