DOCSLIB.ORG

Art Guide 2015 Columban Art Calendar Front Cover

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Art Guide 2015 Columban Art Calendar Front Cover 2015 Columban Art Calendar Art Guide 2015 Columban Art Calendar Front Cover Virgin and Child (detail) by Domenico Ghirlandaio (c.1470-1475) Amongst the subjects favoured by Renaissance masters and their patrons, that of the Virgin and Child must rank as the most beloved. The archetypal image of a serene young woman embracing her child has never failed to appeal to viewers searching for reassurance or mercy. With consummate skill Ghirlandaio evokes the physical presence of the young mother, whose heavy folds of blue fabric create a protective space to enclose her son. The gold background reminiscent of heaven reminds us of the Virgin’s ancient title as “God- Bearer,” the one who made possible the Incarnation. The rock crystal mounted at the centre of the fabulous jewel had traditionally symbolized purity. Thus the magnificent object, known as a morse, which served to fasten the priest’s robe at the neck, here decorates the Virgin’s neckline. As a symbol of purity, the rock crystal alludes to a quality that both poets and theologians had long ascribed to Christ’s mother. Ghirlandaio’s artistry elevates this rather familiar image into a symbol of Mary’s archetypal role as protector and mediator. January 2015 St Paul and the Viper (detail) Mural, Canterbury Cathedral by English School (c. 1180) St Paul is remembered as a great missionary, who after his conversion preached throughout Asia Minor and as far west as Rome and Malta. This wall painting, which once decorated Canterbury Cathedral, recalls an incident recounted in Acts 28:1-6. Paul had been arrested and was on his way to Rome, where he was to be tried. During the voyage he and his companions were ship-wrecked on the island of Malta. The islanders prepared a fire against the rain and cold. As Paul leaned forward to warm himself, a snake attached itself to his arm. He shook the snake off his arm into the fire much to the amazement of the crowd. Who could this man be who emerged unharmed from encountering a snake? Only a God the islanders believed could enable a man to resist such an enemy. Paul remained among the people for some time, curing many of illnesses. This scene from the life of St Paul is all that remains in a chapel originally dedicated to Saints Peter and Paul. The painting gives a tantalising glimpse of the brilliant medieval wall paintings that once decorated the interiors of English cathedrals and churches. February 2015 Mary and Martha (detail) by Bernardino Luini (c.1480-1532) Luini, a follower of Leonardo, spent most of his career working in Milan. This painting of two women invites us into their presence but does not make clear to us today that the subject is religious. The original viewers, however, would have understood the visual conventions in this painting, and thus would have recognised the women as the two sisters of Lazarus, Martha (left) and Mary (right). Clues like costume and gesture help us to recognize these sisters. Traditionally the scene portrays the conversion of Mary. According to legend, Martha implores her wayward sister to renounce her dissolute life. The painting depicts the moment when Mary, having heard Christ preach, responds to Martha’s pleas. From now on Mary will follow Christ. At the centre of the painting the sprig of orange blossom suggests the transience of earthly life. The delicate blossom also symbolises the flowering of Mary’s devotion to Christ. March 2015 St Patrick (detail) from Butler’s Lives of the Saints by English School (c. 1870) Throughout the nineteenth century devotion to St Patrick was widespread, not only in Ireland but wherever the Irish had emigrated. Here an unknown artist has chosen to portray the saint in a way that recalls altarpieces of the Italian Renaissance. The saint stands enclosed by an elaborate arch at the centre of the painting. He is dressed in episcopal robes and holds a crook, symbol of a bishop’s office. Patrick is accompanied by St Columba and St Brigid, who occupy niches to either side of him. The majesty of the fictive altarpiece endows Patrick and the accompanying saints with a timeless authority, but with scant regard for historical accuracy. The artist has deployed a grand manner borrowed from the Italian Renaissance in order to exalt Ireland’s saint, who in actuality had repudiated all such grandeur. April 2015 Pietà (detail) by Annibale Carracci (c. 1603) At the end of the sixteenth-century the north Italian city of Bologna emerged as a leading centre for the visual arts. Pivotal to the fame of this papal city were three members of the Carracci family, Annibale, his brother Agostino, and their cousin Lodovico. Annibale later moved to Rome, where he established himself as an heir to the masters of the high Renaissance, especially Raphael. This exquisite painting in oil on copper of the subject known as the Pietà depicts the moment after Christ has been taken down from the cross and placed in his mother’s lap. Mary’s exhausted body lies slumped against the side of her son’s tomb. Her face appears drained of all life. Indeed the deathly pallor of both mother and son is heightened by the cool tones of Mary’s intensely blue robes. For a moment the still, almost serene figures of the Virgin and her son appear suspended in a timeless image of grief, where the bloody nails and crown of thorns nevertheless dispel the meditative mood. These brutal symbols of Christ’s suffering remind the viewer of the horror of what has happened. The allusion to pain makes the startling use of blue appeal even more strongly to our emotions. May 2015 St Catherine of Siena (detail) by Carlo Dolci (c. 1665-1670) This detail from a painting of St Catherine of Siena alludes to this late medieval saint’s legend. In Dolci’s work Catherine appears in the habit of a Dominican tertiary. By honouring one of the saint’s visions, this painting dramatises her affective spirituality which focused on tears and empathy with Christ’s suffering. Catherine’s letters (of which over 300 survive) and other writings reveal her passionate commitment to uniting herself with Christ. Her intense devotion found expression in love and care for the poor as well as in reprimands to corrupt civic and religious leaders. Throughout her life, she received mystical visions, in which Christ responded to her urgent requests for spiritual assistance. On one such occasion during a period of great difficulty Christ appeared before Catherine and asked her to choose either a precious crown or a crown of thorns. What might the saint’s choice of the latter signify? According to Catherine, her embrace of the crown of thorns declared her unwavering desire to commit herself totally to following the steps of Christ. June 2015 The Dream of Joachim (detail) by Giotto di Bondone (c. 1305) Giotto painted this great masterpiece, the fresco cycle of scenes from the life of the Virgin and Christ for the private chapel of a wealthy Paduan Enrico Scrovegni between 1303-1311. Although the gospels do not discuss the Virgin’s parents or any other details about her early years, many legends narrate in great detail the story of the early life of Mary. Her parents, Anna and Joachim were said to be a devout couple who unfortunately had no children. The scene known as The Dream of Joachim relates how Joachim, who has been excluded from the temple because of his childless state, receives a vision from God (not shown in this detail). Giotto situates the episode in a stark landscape, where Joachim has found shelter with poor shepherds. Dreams in Jewish and Christian tradition were thought to provide communication between God and men and women. In this case the dream brings a message of great joy to Joachim, in his dream he learns that he and Anna will have a child. He of course could not know that his long awaited daughter Mary would grow up to receive an angel’s tidings that were even more marvellous. July 2015 The Three Marys (detail) by Michael Wolgemut (c. 1500) The earliest images of the Resurrection portrayed the event of Christ’s victory over death with a surprising absence – the figure of the resurrected Christ himself. Instead, artists depicted the angel (often seated on the empty tomb) and three women carrying ointment jars with which to anoint Christ’s body. The women traditionally known as myrrhophores (from the Greek word meaning anointers of Christ or ointment bearers) recall Mark and Luke’s descriptions of how these female companions of Christ visited the empty tomb. This depiction of The Three Marys appears to have originally been part of a larger work, almost certainly a painting of the Resurrection. The artist, Michael Wolgemut, the teacher of Albrecht Dürer, invests the scene with a sense of emotional realism. He does so through the women’s red-rimmed eyes as well as the care with which each figure is individualised. Note how each woman’s costume and pose contain clues that help the viewer to differentiate her status in late medieval society. The figure at the left, almost certainly to be identified as Mary Magdalen, wears an expensive fur-trimmed dress. Moreover, her unbound golden hair further confirms her identity. The woman next to her wears the wimple and veil associated with widows. The final figure in this group of myrrhophores wears the fashionable head- dress typical of the wives of successful burghers. Each of these women would have reminded devout late medieval viewers that compassion and fidelity remain at the heart of the Christian life.
Load more

Recommended publications
  • 110 Culture 110 Cu Ltu Re
    images of orphans in fine art By Rita ANOKHIN, Yuriy KUDINOV “ONE PICTURE IS WORTH A THOUSAND WORDS,” a popular saying rphaned characters are extremely common as literary protagonists, and abandonment by par- ents is a persistent theme in myth, fairy tales, fantasy, ancient poetry, and children’s literature. We À nd orphaned heroes in sacred texts: Moses, the great prophet was abandoned in infancy; and in legends, such as that of the founding of Rome by Romulus and Remus who were reared by a she-wolf. OThe classic orphan is one of the most widespread characters in literature. For example: in the 19th century one can À nd Dickens’ Oliver Twist and David CopperÀ eld; Mark Twain’s Huckleberry Finn; and Charlotte Bronte’s Jane Eyre. In the 20th century we meet James Henry Trotter from Roald Dahl’s James and the Giant Peach; Dorothy from the Wizard of Oz; and the Harry Potter series, À rst published in 1997. So far, young Mr. Potter has been arguably the most famous character – orphaned or otherwise – of the 21st century. Authors orphan their characters in order to free them from family obligations and supervision, to force them to pursue a more interesting or adventurous life, or simply to deprive them of a more prosaic exist- ence. The removal of parents and loving guardians creates self-contained, introspective characters who strive for affection. Although orphans can be a useful literary technique, these invented lives do not reÁ ect reality. Orphaned characters in À ction are often remarkably – even unbelievably – successful, sentimental, or wise beyond their years.
    [Show full text]
  • Open Access Version Via Utrecht University Repository
    Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka Philosopher on the throne Magdalena Grądzka Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka 3930424 March 2018 Master Thesis Art History of the Low Countries in its European Context University of Utrecht Prof. dr. M.A. Weststeijn Prof. dr. E. Manikowska 1 Philosopher on the throne Magdalena Grądzka Index Introduction p. 4 Historiography and research motivation p. 4 Theoretical framework p. 12 Research question p. 15 Chapters summary and methodology p. 15 1. The collection of Stanisław August 1.1. Introduction p. 18 1.1.1. Catalogues p. 19 1.1.2. Residences p. 22 1.2. Netherlandish painting in the collection in general p. 26 1.2.1. General remarks p. 26 1.2.2. Genres p. 28 1.2.3. Netherlandish painting in the collection per stylistic schools p. 30 1.2.3.1. The circle of Rubens and Van Dyck p. 30 1.2.3.2. The circle of Rembrandt p. 33 1.2.3.3. Italianate landscapists p. 41 1.2.3.4. Fijnschilders p. 44 1.2.3.5. Other Netherlandish artists p. 47 1.3. Other painting schools in the collection p. 52 1.3.1. Paintings by court painters in Warsaw p. 52 1.3.2. Italian paintings p. 53 1.3.3. French paintings p. 54 1.3.4. German paintings p.
    [Show full text]
  • The Perfect Way by Anna Bonus Kingsford and Edward Maitland the Perfect Way Or the Finding of Christ
    The Perfect Way by Anna Bonus Kingsford and Edward Maitland The Perfect Way or The Finding of Christ by Anna Bonus Kingsford and Edward Maitland Published in 1888 Boston, Mass.: ESOTERIC PUBLISHING COMPANY, 478 Shawmut Avenue. (Revised and Enlarged Edition.) Page 1 The Perfect Way by Anna Bonus Kingsford and Edward Maitland AUTHORS’ EXPLANATION These lectures were delivered in London, before a private audience, in the months of May, June, and July, 1881. The changes made in this edition calling for indication, are, – the substitution of another Lecture for No. V., and consequent omission of most of the plates; the rewriting, in the whole or part, of paragraphs 6 - 8 and 28 in No. I.; 34 - 36 in No. II.; 5 - 8, 12, 13, 22, 23, 42, 43, 54, and 55, in No. IX. (the latter paragraphs being replaced by a new one); the lengthening of Appendices II, and VI; the addition of a new Part to Appendix XIII. (formerly No. IX); and the substitution of eight new Appendices for Nos:. VII., and VIII. The alterations involve no change or withdrawal of doctrine, but only extension of scope, amplification of statement, or modification of expression. A certain amount of repetition being inseparable from the form adopted, – that of a series of expository lectures, each requiring to be complete in itself, – and the retention of that form being unavoidable, – no attempt has been made to deal with the instances in which repetition occurs. PREFACE TO THE AMERICAN EDITION In presenting an American edition of THE PERFECT WAY, or, The Finding of Christ, to the reading and inquiring public, we have been actuated by the conviction that a comprehensive textbook of the “new views,” or the restored wisdom and knowledge of the ages regarding religion or the perfect life, was imperatively required, wherein the subject was treated in a manner luminous, instructive, and entertaining, and which, without abridgement, or inferiority of material or workmanship, could yet be sold at a price that would bring the work within the means of the general public.
    [Show full text]
  • Title a New Proposal on the Chronological Order of the Moses
    Title A new proposal on the chronological order of the Moses and Christ frescoes in the Sistine Chapel Sub Title システィーナ礼拝堂装飾壁画の 〈モーセ伝〉 と 〈キリスト伝〉 連作の制作順序について Author 荒木, 文果(Araki, Fumika) Publisher 慶應義塾大学日吉紀要刊行委員会 Publication year 2019 Jtitle 慶應義塾大学日吉紀要. 人文科学 (The Hiyoshi review of the humanities). No.34 (2019. ) ,p.1- 26 Abstract Notes 挿図 Genre Departmental Bulletin Paper URL https://koara.lib.keio.ac.jp/xoonips/modules/xoonips/detail.php?koara_id=AN10065043-2019063 0-0001 慶應義塾大学学術情報リポジトリ(KOARA)に掲載されているコンテンツの著作権は、それぞれの著作者、学会または出版社/発行者に帰属し、その権利は著作権法によって 保護されています。引用にあたっては、著作権法を遵守してご利用ください。 The copyrights of content available on the KeiO Associated Repository of Academic resources (KOARA) belong to the respective authors, academic societies, or publishers/issuers, and these rights are protected by the Japanese Copyright Act. When quoting the content, please follow the Japanese copyright act. Powered by TCPDF (www.tcpdf.org) A New Proposal on the Chronological Order of the Moses and Christ Frescoes in the Sistine Chapel 1 A New Proposal on the Chronological Order of the Moses and Christ Frescoes in the Sistine Chapel Fumika Araki Introduction In 1481, Pope Sixtus IV della Rovere (papacy: from 1471 to 1484) invited four Umbrian and Florentine painters, Pietro Perugino (c. 1450–1523), Cosimo Rosselli (1439–1507), Domenico Ghirlandaio (1449–1494) and Sandro Botticelli (c. 1445– 1510), to Rome to decorate the entire walls of the pontifical chapel taking his name, the Sistine Chapel [Fig. 1]. These painters were considered to be the most skillful artists at that time and all of them had already managed their own workshop. The walls of the chapel were horizontally divided into three registers [Fig.
    [Show full text]
  • The Finding of Moses Oil on Panel 95.5 X 162 Cm (37½ X 63¾ In)
    Attributed to Jacob de Backer (Antwerp 1560 - Antwerp 1590) The Finding of Moses oil on panel 95.5 x 162 cm (37½ x 63¾ in) This interpretation of The Finding of Moses is an elegant and harmonious composition. The scene depicts the discovery of the baby Moses, his mother having hidden him in the reeds by a riverbank to avoid the persecution of the Hebrews by the Pharaoh. The story is told in Exodus 2: 3-9 and narrates that one day the daughter of the Pharaoh came to bathe in the river, and having spied the basket in the reeds sent her servant woman to fetch it. Miriam, the sister of Moses, approached the Pharaoh’s daughter and offered to find a Hebrew woman to nurse the baby for her, and subsequently returned with her mother. When the child grew up, his mother returned Moses to the Pharaoh’s daughter, and he became her son. She named him Moses, ‘Because,’ she said, ‘I drew him out of the water’. Central to the composition is the seated figure of the Pharaoh’s daughter. Gracefully dressed and wearing a crown, a servant girl stands behind her, fanning her with a canopy of feathers. The Pharaoh’s daughter speaks with a woman dressed in a flowing yellow and white dress, whose cupped exposed left breast and covered head indicate that she is Moses’ mother offering to nurse the child. Between the two conversing figures a younger woman, presumably Miriam, listens intently. The baby Moses is laid down by two servant women, whilst another points to the location of his hiding.
    [Show full text]
  • Tommaso Maria Conca
    TOMMASO MARIA CONCA (Rome 1735 - Rome 1822) The Rest on the Flight into Egypt signed with the artist’s abbreviated first names in black chalk on the fallen stone ‘TÙM. / MAP / V.D.’ (lower right) black chalk, within black chalk framing lines 45.9 x 51.8 cm (18⅛ x 20⅜ in) Provenance: with Crispian Riley-Smith, London, acquired in 2001; Jeffrey E. Horvitz. Literature: Louis Gauffier: Le Repos en Égypt, exhibition catalogue, Musées de Poitiers, 2015, p.38, fig. 12. HE PRESENT DRAWING DEPICTS A MOMENT IN House in Villa Albani. Conca went on to become one of the better known the Holy Family’s escape from the infanticide of King Herod. decorators of the late eighteenth and early nineteenth centuries. His early The figures have obviously been resting and are now preparing works reflect a degree of research which gained him a prominent position to set off again. Joseph hails a boatman whilst gathering their as a late Rococo artist and exponent of nascent neo-Classicism. In 1775, belongings and Mary picks up her son. Details, such as the having been commissioned by Prince Marcantonio Borghese, he started Tsphinx, hieroglyphs and distant obelisk, create a setting which is overtly working at the Villa Borghese, notably in the Sala Egizia which is concerned Egyptian, whilst the Grecian style signature reflects a general interest in with the evocation of ancient Egypt. In 1786 he decorated the Sala delle the ancient world on the part of Tommaso Maria Conca. This interest is Muse at the Museo Pio-Clementino in the Vatican Palace, and the dome of confirmed by another treatment of the same subject by the artist, which is the cathedral of Città di Castello.
    [Show full text]
  • Wholly Moses – in Art, Culture and Jewish Thought Yeshiva College / Spring 2018 / Friday, 10:00Am – 12:30Pm Rabbi Meir Soloveichik and Professor Jacob Wisse
    Wholly Moses – in Art, Culture and Jewish Thought Yeshiva College / Spring 2018 / Friday, 10:00am – 12:30pm Rabbi Meir Soloveichik and Professor Jacob Wisse E-mail: [email protected] E-mail: [email protected] Co-Sponsored by The Straus Center for Torah and Western Thought & Yeshiva University Museum Course Description No Hebrew biblical figure has exercised as much fascination throughout history as Moses. Prophet, leader, lawgiver, Moses is considered a precursor and model for the Pope and a revered figure within Christianity, Islam and the Abrahamic faiths. He has been a rich source of interpretation for writers, scholars and leaders across cultures, from Greek philosophers to America’s founding fathers, and disciplines, from politics to psychoanalysis. Artists from the ancient period through the Renaissance and early modern artists, from Botticelli and Michelangelo to Rembrandt and Poussin, have found in the figure and story of Moses an unparalleled, multifaceted source of visual imagery and exegesis. For Jews, Moses is, arguably, the most important biblical figure – the person who led the children of Israel from slavery in Egypt to the Promised Land and who received the Torah from God and gave it to the people of Israel. Moses is also a flashpoint of theological and philosophical debate. This interdisciplinary course explores the figure of Moses both within the context of art and visual culture and of theology and philosophy – in order to arrive at a richer understanding of Moses within history and world culture. Course Structure This course is structured thematically and chronologically. We will analyze Moses according to key themes, such as Moses as a historical figure, Moses as an intermediary between God and mankind, Moses as a prophet, Moses as teacher; and we will trace the evolution of the perception and depiction of Moses in art from the ancient to modern periods.
    [Show full text]
  • Louis Marin's Plea for Poussin As a Painter
    This is a repository copy of Legacies of ‘Sublime Poussin’: Louis Marin’s plea for Poussin as a painter. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/96935/ Version: Accepted Version Article: Saint, NW (2016) Legacies of ‘Sublime Poussin’: Louis Marin’s plea for Poussin as a painter. Early Modern French Studies, 38 (1). pp. 59-73. ISSN 2056-3035 https://doi.org/10.1080/20563035.2016.1181427 (c) 2016, Taylor & Francis. This is an Accepted Manuscript of an article published by Taylor & Francis in Early Modern French Studies on July 2016,, available online: http://dx.doi.org/10.1080/20563035.2016.1181427 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Legacies of Sublime Poussin: Louis M P P P Nigel Saint (University of Leeds) L grande théorie et pratique (Poussin, Letter to Chantelou, 24 November 1647)1 Introduction L M American sojourns in the 1970s, followed by further visits in the 1980s, have arguably obscured his period of residence in London in the 1960s.
    [Show full text]
  • Observations on the Ancestor Cycle of the Sistine Chapel Ceiling Andrea Pappas Santa Clara University, [email protected]
    Santa Clara University Scholar Commons Art and Art History College of Arts & Sciences Winter 1992 Observations on the Ancestor Cycle of the Sistine Chapel Ceiling Andrea Pappas Santa Clara University, [email protected] Follow this and additional works at: http://scholarcommons.scu.edu/a_ah Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Recommended Citation Pappas, Andrea. "Observations on the Ancestor Cycle of the Sistine Chapel Ceiling." Source: Notes in the History of Art 11, No. 2 (Winter 1992), pp. 27-31. Reprinted with permission of the Ars Brevis Foundation, Inc. This Article is brought to you for free and open access by the College of Arts & Sciences at Scholar Commons. It has been accepted for inclusion in Art and Art History by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. OBSERVATIONS ON THE ANCESTOR CYCLE OF THE SISTINE CHAPEL CEILING Andrea Pappas The figures in the lunettes and window one of the sibyls, Erithraea, lives in Baby spandrels of the Sistine Chapel were liter lon.3 ally obscured for about 500 years. Now Although it is one of the most important that the frescoes are visible once again, events in the Old Testament, the Babylo scholars will turn to the ancestor cycle nian captivity lacks its own narrative with renewed interest.1 First, it has been panel, like Moses Leading the Jews out of noted that the distributional pattern of the Egypt or the Flood. Instead, a structural ancestor figures, which alternates across feature in the program—the break in the the chapel, is interrupted at the chronologi alternating pattern of the ancestor cy cal point of the Babylonian captivity, but cle—alludes to the captivity, which, how the significance of this break has yet to be ever, does not occur at the logical point explored.2 Second, the lunette figures have between the last king of Judah, Josias, and been related neither to the quattrocento the first captive king, Jechonias.
    [Show full text]
  • To the Exhibition Catalogue
    -the banishment of ... 48, 191, 191, 196, 236, 268, 299, Conus imperialis L. 416, 416 (fig. 112b) 300, 302, 306, ... waiting for Abraham 132, portrayal HOMER 134, 318, 378, 378 of ... 192, figure identified as ... 132, 191, 192 -Aristotle contemplating the bust of... 27, 28, 134, 171, HAID, Johann Gottfried 134 378, ... as painted by A. de Gelder 38, figure identified -prints by... as ... teaching his pupils 134, ... dictating to scribes Man in Armour (after Rembrandt) 134, 134 (fig. 15a), 318, 319, 378, 379,... reciting versus 326, 327, Portrait 136 of ... copy after late Hellinistic original, Boston 378, 378 Hairy War 128 (fig. 97a) HALL, Bernard 18 -books by... HALS, Frans (also Francis)18, 44, 149, 150, 153, 187, Odyssey 340, 440 200, 286, 322 HONTHORST, Gerrit van 126, 160, 214, 222, 284 -broad manner of ... 184 -paintings by... -paintings by... Violinist with a Glass Amsterdam 214, 214 (fig. 33a) The Evangelist Luke Odessa 162 HONTHORST, Willem van 284 The Evangelist Matthew Odessa 161, 162, 162 (fig. HOOCH, Carel de 110, 114 22b), 286 HOOCH, Pieter de 146, 279 Corporalship of Captain Reynier Reael and Lieutenant HOOFT, Pieter Cornelisz Cornelis Michiels Blaeuw (with Pieter Codde) -plays by... Amsterdam 150, 152 (fig. 19c), 153 Geeraerdt van Velsen 170 Married Couple in a Garden ( Isaac Massa and Beatrix HOOFT, W D van der Laan ) Haarlem 240 -plays by... Portrait of a Man Cambridge 183, 184, 184 (fig. 28c) Heden-daeghsche Verlooren Soon 396 Portrait of a Standing Man Edinburgh 150, 152 (fig. HOOGEWERFF G J 134, 378 19b), 153 HOOGH, de Portrait of a Woman Edinburgh 153 -collection of ..
    [Show full text]
  • HANNA BENESZ Allegorical Female Busts by Bernaert De Rijckere in The
    HANNA BENESZ Female Busts Bernaert de in the Allegorical by Rijckere National Museum in Warsaw In 1878 Pieter Genard published an article on the Antwerp painter Bernaert de Rijckere (Courtrai c. i S 3 S - i S 9oAntwerp). Pursuing a typically x r xth century in- terest in going back to the source, the author uncovered a mass of archival data from which he could deduce the eminent social standing and essential wealth of this artist. Documents establish that Bernaert de Rijckere, born and educated in Coutrai, owned houses in Antwerp, Courtrai and plots of land in Lendele. After moving to Antwerp in 15 61 he was enrolled as a master in the guild of St. Luke and also became a member of the chamber of rhetoricians 'De Violieren'. His paintings were popular among several prominent families of the city, such as Della Faille and de Doncker, who were befriended by him. After his death some of his paintings were purchased by the Prince of Orange. However, the works known to Genard at the time he published his book on De Rijckere - a Carrying of the Cross and the triptych of the Descent of the Holy Ghost in Courtrai, two portraits of the Clarys, a married couple, in the Antwerp museum, and two further matrimonial portraits of J. B. de Doncker and his wife - aroused the author's interest, leading him to believe that many more important works by this prolific and talented painter might be rediscovered among anonymous or wrongly attributed pieces. His assumption proved to be truly prophetic.
    [Show full text]
  • Holy Figures in Renaissance and Baroque Landscapes
    European Scientific Journal May 2017 /SPECIAL/ edition ISSN: 1857 – 7881 (Print) e - ISSN 1857- 7431 Journey in Religious Pictures: Holy Figures in Renaissance and Baroque Landscapes Sibel Almelek Isman, (PhD) Dokuz Eylul University/Turkey Abstract Artists have portrayed the beauty and glory of nature since Antiquity. Renaissance and Baroque painters depicted religious episodes in impressive landscapes. The aim of this paper is to examine the sceneries which picturise the journey of a biblical figure or a saint. There are many stories in the bible which involve voyage either on the earth or from the earth towards the heaven. Noah built an ark for himself, his family and the animals and they rode safely in the flood. Abraham sent Hagar and their son Ishmael into the wilderness of Beersheba. Lot, his wife and two daughters left the wicked city of Sodom. Jacob dreamed a ladder set up on the earth toward reached the heaven. The Book of Exodus tells the journeys of Moses. He was put in a basket and left in Nile when he was a baby and later in his adult life he passed through the Red Sea with the children of Israel. Gospels describe several journeys. Three wise men made a trip to see the newborn Jesus. An angel appeared to Joseph and warned him to flee into Egypt with the Infant Jesus. Jesus walked on the Sea of Galilee, when his disciples were waiting on the boat. Jesus was led away to be crucified in the pictures called The Road to Calvary. Jesus walked with two of his disciples on the road to the village of Emmaus.
    [Show full text]