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(Italian for “Pity”), Which Depicts the Virgin Mary Holding the Body of Her

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(Italian for “Pity”), Which Depicts the Virgin Mary Holding the Body of Her hominisaevum: The Pieta (Italian for “pity”), which depicts the Virgin Mary holding the body of her son Jesus Christ after his death, has been created in many different forms by various painters and sculpture. Of all the great paintings and sculptures on the Pieta the one by Michelangelo stands out from all the rest. Michelangelo was relatively unknown to the world as an artist. He was only 24 when he was formally commissioned on Aug. 27, 1498 by Cardinal Jean Bilheres de Lagraulas, the French king’s envoy to the pope, to do a life size sculpture of the Virgin Mary holding her son in her arms. It was to be unveiled in St. Peter’s Basilica for the Jubilee of 1500. In less than two years Michelangelo carved from a single slab of marble, one of the most magnificent sculptures ever created. His interpretation of the Pieta was far different than ones created previously by other artists. Michelangelo decided to create a youthful, serene and celestial Virgin Mary instead of a broken hearted and somewhat older woman. Tuvo gran afición por la compañía de los animales, como por su perro Terranova «Boatswain», en cuya tumba escribió: Aquí reposan los restos de una criatura que fue bella sin vanidad fuerte sin insolencia, valiente sin ferocidad y tuvo todas las virtudes del hombre y ninguno de sus defectos. Byron, John William Godward - Mischief and Repose [1895] A young woman reclines on a tiger skin on a marble ledge while her companion teases her with a dress pin. They are dressed in diaphanous robes fashioned after chitons worn by women in ancient Greece. Another dress pin and the reclining woman's hair ribbon lie scattered on the marble floor. For over half a century after the continued excavations of Pompeii began in 1748, artists were fascinated with Greek and Roman life. John William Godward painted many scenes like this one of idealised beauties in calm, often sterile environments. In this painting, the figure of Repose is arranged seductively, with her breast and nipple showing through the thin material of her dress. But there is something distinctly untouchable about these women; they do not engage the viewer with an inviting gaze nor solicit personal contact. Like their antique setting, they possess a monumental, marmoreal quality, resembling Greek statues frozen in time. John William Godward - Reverie [1904] Lost in her thoughts, a languid young woman lounges on a smooth, veined marble bench terminating in a figure, probably representing the type of the poet Homer with its heavy beard, thick hair and narrow ribbon around the head. The cloth wrapped around her hips, over her silky chiton, or tunic, is not an authentic element of ancient costume, but it bears a repeated palmette (fan-shaped leaves) border based on a common ancient design. The fluffy, spotted animal fur is almost tactile but has no specific connection to antiquity. John William Godward (British, 1861 - 1922) probably included it for the delight of juxtaposing such varied textures and colors. He painted the silk, fur, and marble with great accuracy, approaching photographic realism, and arranged them to enliven the subtly colored composition. [Oil on canvas, 23 x 29 inches] Vincent van Gogh - A Wheatfield, with Cypresses [1889] This was painted in September 1889, when Van Gogh was in the St-Rémy mental asylum, near Arles, where he was a patient from May 1889 until May 1890. It is one of three almost identical versions of the composition. Another painting of the cypresses (New York, Metropolitan Museum of Art) was painted earlier in July 1889, and was probably painted directly in front of the subject. [Oil on canvas, 72.1 x 90.9 cm] Vincent van Gogh - Olive Orchard [1889] During the last six or seven months of 1889, Van Gogh did at least fifteen paintings of olive trees, a subject he found both demanding and compelling. He wrote to his brother Theo that he was "struggling to catch [the olive trees]. They are old silver, sometimes with more blue in them, sometimes greenish, bronzed, fading white above a soil which is yellow, pink, violet tinted orange...very difficult." He found that the "rustle of the olive grove has something very secret in it, and immensely old. It is too beautiful for us to dare to paint it or to be able to imagine it." In the olive trees, in the expressive power of their ancient and gnarled forms, Van Gogh found a manifestation of the spiritual force he believed resided in all of nature. His brushstrokes make the soil and even the sky seem alive with the same rustling motion as the leaves, stirred to a shimmer by the Mediterranean wind. These strong individual dashes do not seem painted so much as drawn onto the canvas with a heavily loaded brush. The energy in their continuous rhythm communicates to us, in an almost physical way, the living force that Van Gogh found within the trees themselves, the very spiritual force that he believed had shaped them. [Oil on canvas, 73 x 92.1 cm] Camille Corot - Bacchante by the Sea [1865] In his study of Corot, the German art historian Julius Meier-Graefe extolled the series of Odalisques that the artist painted throughout his career, beginning in 1837: "The progressive development of his Odalisques continued until he was past sixty; a development not of a type but of the painting. In the course of fifty years, this figure seems to grow and take on broader, more majestic contours. The forms become rounder, the limbs learn movement, the flesh becomes more elastic and finally, perfected beauty emerges. His women painted in the sixties take on a brilliant loveliness." Corot exhibited this work, along with another, also of a reclining nude, at the 1865 Paris Salon. [Oil on wood, 38.7 x 59.4 cm] Camille Pissarro - Boulevard Montmartre on a Winter Morning [1897] After spending six years painting in the rural setting of Éragny, Pissarro returned to Paris, where he produced several series of the "grands boulevards." As Pissarro surveyed the view from his lodgings at the Grand Hôtel de Russie in early 1897, he marveled that not only could he "see down the whole length of the boulevards" but he had "almost a bird's-eye view of carriages, omnibuses, people, between big trees, big houses that have to be set straight." From February through April, he set out to record, in two views of the Boulevard des Italiens to the right, and fourteen of the Boulevard Montmartre to the left, the spectacle of urban life as it unfolded below his window. [Oil on canvas, 64.8 x 81.3 cm] Vincent van Gogh - Basket of Pansies on a Small Table [1887] Van Gogh began painting still lifes of flowers after moving to Paris in 1886. Here he depicts a basket of pansies on a stool with a seat in the shape of a tambourine. The stool was from the café Le Tambourin, whose furniture and other fittings were inspired by this instrument. For a time, van Gogh had a relationship with the owner of this establishment, Agostina Segatori. This still life has been painted over another picture. Van Gogh scraped the paint away and then applied coats of black and white paint so that he could reuse the canvas. [Oil on canvas, 46 x 56 cm] Rafael - Portrait of a Cardinal [1510] The Portrait of a Cardinal is a painting by the Italian Renaissance artist Raphael. It is housed in the Prado Museum in Madrid. It depicts an unidentified cardinal in the court of Pope Julius II. The portrait was acquired by Charles IV of Spain when he was still a prince, and the picture was attributed to Antonio Moro, due to its technique, considered unusual in Raphael. [Oil on wood, 79 x 61 cm] Franz Marc - The Dream [1912] No longer bound by the truthful representation of nature, yet without wholly relinquishing links to the real world, Franz Marc provides in The Dream a masterly reflection of 'the organic rhythm... of all things,' highlighting his awareness of Italian Futurist and French Cubist theories. The composition is structured around dynamic lines radiating outwards from the female figure in the foreground; naked and asleep, she becomes a symbol of the harmony between the human world and the animal realm. The varied creatures that surround her seem to be the product of her dream. Marc uses colours with symbolic meanings: blue, for example, represents what is masculine and intellectual, while yellow symbolises femininity and warmth. [Oil on canvas, 100.5 x 135.5 cm] Adolphe Monticelli - Sunrise [c.1882-84] This painting is a companion piece to the artist's Sunset. Both Cezanne and van Gogh were admirers of Monticelli's use of thickly applied paint or impasto, and the directional brushstrokes in his later work. The sun can be seen rising in the centre of the picture. This landscape was probably painted in the last year of the artist's life. [Oil on wood, 27.9 x 41.3 cm] Jacques-Louis David - Suzanne Le Pelletier de Saint-Fargeau [1804] In one of the few commissions Jacques-Louis David accepted after he began working regularly for Napoleon in 1799, he agreed to paint a portrait of Suzanne Le Peletier when she was twenty-two years old. The portrait was painted the year of her engagement to her cousin Léon Le Peletier de Mortefontaine, whom she married in 1806. The painting's small size and intimate mood reflect its private nature. Suzanne is portrayed bust-length, facing the viewer.
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