Simone Pignoni, The Rape of Proserpine 01 Paintings, Olympian deities, by the Old Masters, with footnotes # 34

Simone Pignoni, (1611–1698)
The Rape of Proserpine, circa 1650

Oil on canvas
Height: 88 cm (34.6 ″); Width: 134 cm (52.7 ″)
Museum of Fine Arts of Nancy

Proserpina, or Proserpine is an ancient Roman goddess whose cult, myths and mysteries were based on those of Greek Persephone and her mother Demeter, the Greek goddess of grain and agriculture. The Romans identified Proserpina with their native fertility goddess Libera, daughter of the grain and agriculture goddess Ceres and wife to Liber.


Venus, in order to bring love to Pluto, sent her son Amor (also known as Cupid) to hit Pluto with one of his arrows. Proserpina was in Sicily, at the Pergusa Lake near Enna, where she was playing with some nymphs and collecting flowers, when Pluto came out from the volcano Etna. He abducted her in order to marry her and live with her in the underworld of which he was the ruler.


Her mother Ceres went looking for her across all of the world, and all in vain. She was unable to find anything. In her desperation, Ceres angrily stopped the growth of fruits and vegetables, bestowing a malediction on Sicily. Ceres refused to return to Mount Olympus and started walking the Earth, creating a desert with each step.


Worried, Jupiter sent Mercury to order Pluto to free Proserpina. Pluto obeyed, but before letting her go he made her eat six pomegranate seeds, because those who have eaten the food of the dead could not return to the world of the living. This meant that she would have to live six months of each year with him, and stay the rest with her mother. More on Proserpina

Simone Pignoni (April 17, 1611 – December 16, 1698) was an Italian painter of the Baroque period.

He is best known for painting in a style reminiscent of the morbidly sensual Furini. Reflective of this obsession in his self-portrait, c. 1650, in which he depicts himself building up a plump naked female from a skeleton. 

Described as endowed with a “bizarre and amenable intelligence”, Pignoni apparently had a late-life conversion to more pious painting. There is one episode recalled that during a serious illness “because in his life he had focused on studying about female forms, and (now) having resigned himself to the impending infinity, his spiritual father urged him to purge those errors with the flame, and once guided by a good disposition, he suddenly was cured by the Lord.” Baldinucci’s biography of Furini also recorded a similar, near-death renunciation of his art of the naked figure.

Among his more conventional works are a St. Agatha cured by St. Peter (attributed); a St. Louis providing a banquet for the poor (c. 1682); and a Madonna and child in glory with archangels Saints Michael and Raphael in battle armor and San Antonio of Padua. He painted an Allegory of Peace in Palazzo Vecchio. A Penitent Magdalen that has been attributed to Pignoni is found in the Pitti Palace. In San Bartolomeo in Monteoliveto, he painted a Madonna appearing to Blessed Bernardo Tolomeo. More on Simone Pignoni

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Edward Pritchett, Santa Marie Della Salute 01 Painting of the Canals of Venice by the artists of their time, with footnotes. #56

Edward Pritchett, (British, 1828-1864)
Santa Marie Della Salute, Venice

Oil on canvas
26 x 36 cm. (10 1/4 x 14 3/16 in.)
Private collection

Santa Maria della Salute (English: Saint Mary of Health), commonly known simply as the Salute, is a Roman Catholic church and minor basilica located at Punta della Dogana in the Dorsoduro sestiere of the city of Venice, Italy.

It stands on the narrow finger of Punta della Dogana, between the Grand Canal and the Giudecca Canal, at the Bacino di San Marco, making the church visible when entering the Piazza San Marco from the water. The Salute is part of the parish of the Gesuati and is the most recent of the so-called plague churches.

In 1630, Venice experienced an unusually devastating outbreak of the plague. As a votive offering for the city’s deliverance from the pestilence, the Republic of Venice vowed to build and dedicate a church to Our Lady of Health (or of Deliverance, Italian: Salute). The church was designed in the then fashionable baroque style by Baldassare Longhena. Construction began in 1631. Most of the objects of art housed in the church bear references to the Black Death.

The dome of the Salute was an important addition to the Venice skyline and soon became emblematic of the city, inspiring artists like Canaletto, J. M. W. Turner, John Singer Sargent, and the Venetian artist Francesco Guardi. More on Santa Maria della Salute

Edward Pritchett (fl. 1828 – 1864) was a nineteenth-century English painter and man of mystery.

Nothing is known of Pritchett’s life; he has appropriately been described as “elusive.” He may have lived to 1879. Pritchett spent more than three decades living and working in Venice, producing admirable views of the city; he was one of a group of English artists who produced notable records of the scenes of northern Italy, a group that included John Wharlton Bunney, James Holland, the brothers-in-law Luke Fildes and Henry Woods, and, in a later generation, William Logsdail. More on Edward Pritchett

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

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Jean-François Arrigoni Neri, A MOUSSEM IN THE ATLAS MOUNTAINS 01 Painting by the Orientalist Artists, with footnotes, 53

Jean-François Arrigoni Neri
UN MOUSSEM DANS L’ATLAS
A MOUSSEM IN THE ATLAS MOUNTAINS

Oil on canvas
65 X 81 cm
Private collection

The Tan-Tan Moussem is an annual gathering of more than thirty tribes from southern Morocco and other parts of Northwest Africa in Tan-Tan, a town in south-western Morocco. In traditional Berber culture, a moussem is “a type of annual fair with economic, cultural and social functions.”

This Moussem was first held in 1963 to “promote local traditions and provide a place for exchange, meeting and celebration”. It is said to have been associated with Mohamed Laghdaf, a Saharan leader who fought the French and Spanish colonizers for decades, died in 1960, and was buried near Tan-Tan. The gathering was banned by the authorities in 1979 due to security concerns, but was revived again in 2004 with the help of UNESCO and the Moroccan Ministry of Tourism. Originally it was held in May, but is currently held every December. More on the Moussem

Jean-François Arrigoni Neri , born in Paris on March 28 , 1937 and dead the November 23 , 20141 is a  French painter , illustrator , engraver and lithographer.


In 1951, at the age of 14, he entered the Estienne 2 School from where he graduated in 1955 with the Prix Cortot d’Engraving. After working for ten years as an engraver, he became an illustrator for various Parisian advertising studios. In 1963 in Ivry-sur-Seine , on the occasion of one of the first exhibitions in which he participated, the National Directorate of Fine Arts in Paris bought him a canvas (marine, representing the port of Lorient).


In 1969, he worked as an independent illustrator. For more than twenty years, he directed advertising campaigns for French brands or major sporting events. 


In the mid -1980s , he gave up his job as an illustrator to devote himself entirely to painting and made portraits, still lifes, seascapes and landscapes, paintings on the theme of jazz or sport and more particularly on the Orient, he is cited as one of the French orientalist painters. More on Jean-François Arrigoni Neri 

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Joe Duncan Gleason, Young America 01 Classic Work of Art, Marine Paintings – With Footnotes, #177

Joe Duncan Gleason, (American, 1881-1959)
The California Clipper Ship — Young America

Oil on canvasboard
16 x 12 inches (40.6 x 30.5 cm)
Private collection

The Young America was built by William H. Webb of New York. She was launched in 1853, at the height of the clipper construction boom. She sailed in the California trade, on transatlantic routes, and made voyages to Australia and the Far East.

She set a record for the passage from Liverpool to San Francisco in 1872, of 99 days. She set a record for a loaded sailing ship between San Francisco to New York in 1870, 83 days: “the record for a loaded sailing ship…


In 1857, Young America transported 800 Chinese coolies from Hong Kong to Melbourne via Guichon. She sailed from Liverpool to Melbourne under Captain D.S. Babcock with 289 passengers in 1858. In 1865, she brought a cargo of sugar and hemp from Manila to New York in 100 days.


 In 1886 February 17, she sailed  outward bound from Philadelphia for Fiume under command of Captain Vlassich and was never heard of again. More on The Young America

For Joe Duncan Gleason,  (1881 – 1959 Glendale, CA) It was boating – and life on the sea, in general – that steered the motley professions and avocations of the California painter Joe Duncan Gleason. Trained at the Chicago Art Institute and the New York Arts Students’ League, he illustrated for various magazines, including Leslie’s Monthly, Ladies Home Journal, and Forecast, from 1903 to 1914; during this period, while competing as a gymnast in national competitions, he acquired a 36-foot yawl and sailed often on Long Island Sound. Gleason’s earliest paintings are Impressionist in style and depict the scenic hills of his childhood Los Angeles as well as the peopled shores of nearby Laguna Beach. A brief return to New York from 1919 to 1924 inspired Gleason to take up marine painting, model shipbuilding, and writing about sailing: he published Windjammers, a book of etchings (1922), followed later by Islands of California (1950). In the mid-1920s, Gleason established his studio in the harbor town of San Pedro, California, and began consulting for Metro-Goldwyn-Mayer and Warner Bros., providing visual guides for the ships that appeared in such films as Yankee Clipper, Captain Blood, and The Charge of the Light Brigade. When not painting or lecturing on historical ships, he was sailing, both with the U.S. Coast Guard Auxiliary during WW II and recreationally with the California Yacht Club.More on Joe Duncan Gleason

Young America
Photographic print

Builder: Wm. Webb 1853
Dimensions: 243 x 43.2 x 26.9
Tonnage: 1961
Type: American Clipper (Wood)
San Francisco Public Library

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

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Borys Fiodorowicz, Madonna of Saint-Laurent 01 Works, RELIGIOUS ART – CONTEMPORARY Interpretation of the Bible! With Footnotes – 30

Borys Fiodorowicz
Madonna Mondriana od Laurenta, Madonna of Saint-Laurent, c. 2018

Acrylic on panel
Size:
40 x 30 cm. (15.7 x 11.8 in.)
Private collection

Yves Saint Laurent, in full Yves-Henri-Donat-Mathieu Saint Laurent, (born August 1, 1936, Oran, Algeria—died June 1, 2008, Paris, France), French fashion designer. In 1962 Saint Laurent opened his own fashion house and quickly emerged as one of the most influential designers in Paris. He popularized trousers for women. Metallic and transparent fabrics were prominent in his late ’60s collections; in the 1970s, inspired by ethnic costume, he introduced the haute peasant look. During the 1960s and ’70s his enterprises expanded to include ready-to-wear licenses, accessories, household linens, fragrances, and men’s clothes in addition to his couture business. More on Yves Saint Laurent

Borys Fiodorowicz is the graduate of the Academy of Fine Arts in Warsaw. The artist comes from Ukraine but currently he lives and works near Cracow, Poland, where his closest entourage became a great source of inspiration. He took part in numerous individual and group exhibitions and charity auctions. His permanent exhibition can be seen in Parish House in Paszkówka. More on Borys Fiodorowicz 

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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School of the Lower Rhine, THE BETRAYAL OF CHRIST 01 Works, RELIGIOUS ART – Interpretation of the bible, with Footnotes – 152

School of the Lower Rhine, circa 1510-15
THE BETRAYAL OF CHRIST

Oil on oak panel
89.1 x 72.3 cm.; 35 x 28 1/2 in.
Private collection

The kiss of Judas, also known as the Betrayal of Christ, is how Judas identified Jesus to the multitude with swords and clubs who had come from the chief priests and elders of the people to arrest him, according to the Synoptic Gospels. The kiss is given by Judas in the Garden of Gethsemane after the Last Supper and leads directly to the arrest of Jesus by the police force of the Sanhedrin.


More broadly, a Judas kiss may refer to “an act appearing to be an act of friendship, which is in fact harmful to the recipient” More on the Betrayal of Christ


Till-Holger Borchert situates this works in the immediate milieu of the workshop of Derick Baegert and his son Jan in Wesel.


Derick Baegert, (?), ca. 1440 – Wesel, ca. 1515, was the head of a family of painters who worked in the Rhineland area in Germany during the last third of the 15th century and the first third of the 16th. Baegert organised a productive workshop in Wesel with his son Jan and Jan Joest, who was possibly his nephew. He also worked in Dortmund, Cologne and Kalkar. Stylistic similarities between his work and that of the Utrecht school suggests that he trained there. In 1476 he is recorded in Wesel, a city where his son worked as an independent master in 1490. Father and son travelled together to the Low Countries in 1482, a fact that is crucial for the evolution of their art. Although he borrowed elements from Netherlandish art, Derick’s style always remained close to that of the late Gothic. He tended to locate his figures in a narrow zone that acts as an intermediary point between the foreground and background. More on Derick Baegert

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Spyros Vassiliou, Masts and boats 01 Classic Works of Art, Marine Paintings – With Footnotes, #175

Spyros Vassiliou, (1902 – 1984)
Masts and boats, c. 1962

Oil on canvas laid down on novopan
98.3 x 47.8 cm
Private collection

Spyros Vassiliou (1903- 03.22.1985) was a Greek painter, printmaker, illustrator, and stage designer. He became widely recognized for his work starting in the 1930s, when he received the Benaki Prize from the Athens Academy. The recipient of a Guggenheim Prize for Greece (in 1960), Spyros Vassiliou’s works have been exhibited in galleries throughout Europe, in the United States, and Canada. More on Spyros Vassiliou

Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The Orientalist, 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.

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