The Choice of Heracles by Annibale Carracci

by 16th century ArtArtBaroqueMythologyStudent ActivitiesUncategorizedWorksheets
Annibale Carracci, 1560-1609
The Choice of Heracles, 1596, Oil on Canvas, 273 x 167 cm, Museo Nazionale di Capodimonte, Naples, Italy
https://el.m.wikipedia.org/wiki/%CE%91%CF%81%CF%87%CE%B5%CE%AF%CE%BF:Annibale_Carracci_-_The_Choice_of_Heracles_-_WGA4416.jpg

The Choice of Heracles by Annibale Carracci is probably loosely inspired by Philostratus’ Life of Apollonius of Tyana (6.10)… You have seen in picture-books the representation of Heracles by Prodicus; in it Heracles is represented as a youth, who has not yet chosen the life he will lead; and vice and virtue stand in each side of him plucking his garments and trying to draw him to themselves. Vice is adorned with gold and necklaces and with purple raiment, and her cheeks are painted and her hair delicately plaited and her eyes underlined with henna; and she also wears golden slippers, for she is pictured strutting about in these; but virtue in the picture resembles a woman worn out with toil, with a pinched look; and she has chosen for her adornment rough squalor, and she goes without shoes and in the plainest of raiment, and she would have appeared naked if she had not too much regard for her feminine decency. Interesting and revealing to say the least! The ancient Greek myth was invented by the sophist Prodico and perhaps suggested to Annibale Carracci by Fulvio Orsini, the librarian of the Farnese family. Interesting and revealing to say the least! https://www.livius.org/sources/content/philostratus-life-of-apollonius/philostratus-life-of-apollonius-6.6-10/

A young, thoughtful Heracles dominates the center of an extremely busy composition. He is depicted in heroic nudity, resting on his club contemplating… whether he will approach life by the path of virtue or the path of vice… And there, writes Xenophon,  appeared two women of great stature making towards him. https://www.perseus.tufts.edu/hopper/text?doc=Xen.%20Mem.%202.1&lang=original and https://cal.byu.edu/macfarlane/OGCMA/HeraclesChoice1.0019_Carracci.htm

A young, thoughtful Heracles dominates the center of an extremely busy composition. He is depicted in heroic nudity, resting on his club contemplating… whether he will approach life by the path of virtue or the path of vice… And there, writes Xenophon,  appeared two women of great stature making towards him. https://www.perseus.tufts.edu/hopper/text?doc=Xen.%20Mem.%202.1&lang=original and https://cal.byu.edu/macfarlane/OGCMA/HeraclesChoice1.0019_Carracci.htm

Annibale Carracci, 1560-1609
The Choice of Heracles, 1596, Oil on Canvas, 273 x 167 cm, Museo Nazionale di Capodimonte, Naples, Italy
https://artpaintingartist.org/the-choice-of-heracles-by-annibale-carracci/

On Heracles’s left side, Carracci presents a striking woman, the personification of Pleasure, standing in front of a lush landscape, green, luxuriant, and blossoming. She gestures to play cards, musical instruments, and theatrical masks. She entices him with her presence, the symbols of carnal pleasures, and her words… Heracles, I see that you are in doubt about which path to take toward life. Make me your friend; follow me, and I will lead you along the pleasantest and easiest road. You shall taste all the sweets of life; and hardship you shall never know. https://www.perseus.tufts.edu/hopper/text?doc=Xen.%20Mem.%202.1&lang=original

On Heracles’s right side, Carracci painted the personification of Virtue, who according to Xenophon, addressed young Heracles in an exemplary way… I, too, am come to you, Heracles: I know your parents and I have taken note of your character during the time of your education. Therefore I hope that, if you take the road that leads to me, you will turn out a right good doer of high and noble deeds, and I shall be yet more highly honoured and more illustrious for the blessings I bestow. But I will not deceive you by a pleasant prelude: I will rather tell you truly the things that are, as the gods have ordained them. [28] For of all things good and fair, the gods give nothing to man without toil and effort. If you want the favour of the gods, you must worship the gods: if you desire the love of friends, you must do good to your friends: if you covet honour from a city, you must aid that city: if you are fain to win the admiration of all Hellas for virtue, you must strive to do good to Hellas: if you want land to yield you fruits in abundance, you must cultivate that land: if you are resolved to get wealth from flocks, you must care for those flocks: if you essay to grow great through war and want power to liberate your friends and subdue your foes, you must learn the arts of war from those who know them and must practice their right use: and if you want your body to be strong, you must accustom your body to be the servant of your mind, and train it with toil and sweat.’ [29]

Carracci’s personification of Virtue is presented as a young, unpretentious woman, dressed in blue and red. She stands in front of an arid landscape, and points at the winding road up a mountain plateau, where the winged Pegasus, emblem of the Farnese family, awaits Heracles to guide him to Mount Olympus. A life of Virtue, however, does not come without fame and distinction. In the lower-left corner, Carracci painted a poet crowned in laurels looking up to Virtue and Heracles, ready to immortalize the Hero’s accomplishments and assure him great renown.

Annibale Carracci, 1560-1609
Camerino Farnese (the ceiling), 1596, 4.8×9.4m, Private Room of Cardinal Oduardo Farnese. Palazzo Farnese, Rome, Italy
https://it.ambafrance.org/Camerino-d-Ercole

The Choice of Heracles by Annibale Carracci once graced the center of the ceiling in a small room known as the Camerino di Ercole in the Farnese Palace in Rome. The room’s iconography was determined by the palace’s librarian, Fulvio Orsini, who knew the fifth-century Ancient Greek parable involving Hercules… Cardinal Odoardo Farnese selected Annibale to execute the Camerino’s decor, which the artist completed between 1595–97. In 1662  the Carracci’s canvas was replaced by a copy, still in place, underwent various movements, and then became part of the “Cabinet of obscene paintings” of the Royal Bourbon Museum. Today, it is exhibited in Museo Nazionale di Capodimonte, Naples, Italy. https://artsandculture.google.com/asset/hercules-at-the-crossroads-annibale-carracci/EwGkF5dbmWVeHw and https://capodimonte.cultura.gov.it/oggi-e-il-compleanno-di-annibale-carracci/

For a Student Activity inspired by Annibale Carracci’s The Choice of Heracles, please… Check HERE!

Brunelleschi vs. Ghiberti

by 15th century Italian Renaissance ArtArtItalian Renaissance ArtPowerpointsRenaissanceRenaissance Art
Lorenzo Ghiberti, 1378-1455
Sacrifice of Isaac, 1401, Gilded Bronze, 45 × 38 cm, Museo Nazionale del Bargello, Florence, Italy
Filippo Brunelleschi, 1377-1446
Sacrifice of Isaac, 1401, Gilded Bronze, 41 × 36 cm, Museo Nazionale del Bargello, Florence, Italy
https://idole-rivalen.khm.at/en/ 

In 1400, a competition was announced for a bronze double door at the Baptistery in Florence. While such contests were no rarity, this one is considered a classic of its kind. A jury of 34 declared the winner to be Lorenzo Ghiberti, whose composition was regarded as better balanced, not to mention its using around seven kilograms less of the valuable material. Hardly any history of Renaissance art fails to mention this event as a founding moment. The Brunelleschi vs. Ghiberti competition is the best introduction, in my humble opinion, to 15th-century Italian Renaissance Art. https://idole-rivalen.khm.at/en/   

For today’s BLOG POST allow me to quote and remember how Giorgio Vasari in his Lives of the Most Excellent Painters, Sculptors, and Architects, first published in 1550 and dedicated to Grand Duke Cosimo I de’ Medici, describes the famous 1401 competition for a bronze double door at the Baptistery in Florence. The life of Filippo Brunelleschi, and the Life of Lorenzo Ghiberti, as narrated by Vasari, provide the necessary information on how the competition and Lorenzo’s victory were seen in the 16th century by the artist/author considered to be the first Art Historian ever! https://filippobrunelleschifacts.tumblr.com/post/109790232722/vasaris-lives-of-the-artists-life-of  and http://www.artist-biography.info/artist/lorenzo_ghiberti/

Filippo Brunelleschi, 1377-1446
Sacrifice of Isaac, 1401, Gilded Bronze, 41 × 36 cm, Museo Nazionale del Bargello, Florence, Italy
https://www.artesvelata.it/concorso-1401/

From the life of Filippo Brunelleschi… in the year 1401, now that sculpture had risen to so great a height, it was determined to reconstruct the two bronze doors of the Church and Baptistery of San Giovanni, since, from the death of Andrea Pisano to that day, they had not had any masters capable of executing them. This intention being, therefore, communicated to those sculptors who were then in Tuscany, they were sent for, and each man was given a provision and the space of a year to make one scene; and among those called upon were Filippo and Donato, each of them being required to make one scene by himself, in competition with Lorenzo Ghiberti, Jacopo della Fonte [Jacopo della Quercia], Simone da Colle, Francesco di Valdambrina, and Niccolo d’ Arezzo. These scenes, being finished in the same year and being brought together for comparison, were all most beautiful and different one from the other; one was well designed and badly wrought, as was that of Donato; another was very well designed and diligently wrought, but the composition of the scene, with the gradual diminution of the figures, was not good, as was the case with that of Jacopo della Quercia; a third was poor in invention and in the figures, which was the manner wherein Francesco di Valdambrina had executed his; and the worst of all were those of Niccolo d’ Arezzo and Simone da Colle. The best was that of Lorenzo di Cione Ghiberti, which had design, diligence, invention, art, and the figures very well wrought. Nor was that of Filippo much inferior, wherein he had represented Abraham sacrificing Isaac; and in that scene a slave who is drawing a thorn from his foot, while he is awaiting Abraham and the ass is browsing, deserves no little praise.

The scenes, then, being exhibited, Filippo and Donato were not satisfied with any save with that of Lorenzo, and they judged him to be better qualified for that work than themselves and the others who had made the other scenes. And so with good reasons they persuaded the Consuls to allot the work to Lorenzo, showing that thus both the public and the private interest would be best served; and this was indeed the true goodness of friendship, excellence without envy, and a sound judgment in the knowledge of their own selves, whereby they deserved more praise than if they had executed the work to perfection. Happy spirits! who, while they were assisting one another, took delight in praising the labors of others. How unhappy are those of our own day, who, not sated with injuring each other, burst with envy while rending others? The Consuls besought Filippo to undertake the work in company with Lorenzo, but he refused, being minded rather to be first in an art of his own than an equal or a second in that work. Wherefore he presented the scene that he had wrought in bronze to Cosimo de’ Medici, who after a time had it placed on the dossal of the altar in the old Sacristy of San Lorenzo, where it is to be found at present; and that of Donato was placed in the Guild of the Exchange.

Lorenzo Ghiberti, 1378-1455
Sacrifice of Isaac, 1401, Gilded Bronze, 45 × 38 cm, Museo Nazionale del Bargello, Florence, Italy
https://www.artesvelata.it/concorso-1401/

From the Life of Lorenzo Ghiberti… He had not been long absent from home when the plague ceased, and the Signoria of Florence and the art of the merchants, seeing that there were a number of excellent artists in sculpture at that time, both foreigners and Florentines, thought that it would be a favourable opportunity to make the other two doors of S. Giovanni, the ancient and principal church of the city, a matter which had frequently been discussed. It was arranged by them that all the masters considered to be the best in Italy should be invited to come to Florence to compete in making bronze panels similar to those which Andrea Pisano had done for the first door. Ghiberti was working at Lesare at the time but although offers of higher wages were promised, he availed nothing, for to Lorenzo it seemed worth a thousand years to return to Florence, and he accordingly set out and reached his home in safety. Many foreigners had already arrived and reported themselves to the consuls of the arts. From among them seven masters in all were selected: three Florentines, and the remainder Tuscans. A provision of money was set apart for them, and it was stipulated that within a year each of them should produce, as an example of his skill, a bronze panel of the same size as those of the first door. It was determined that the scene represented should be the sacrifice of Isaac by Abraham, which was considered to be a good subject in which the masters could grapple with the difficulties of the art, because it comprises a landscape, figures both nude and draped, and animals, while the figures in the foreground might be made in full relief, those in the middle distance in half-relief, and those in the background in bas-relief. The competitors for this work were: Filippo di ser Brunellesco, Donato and Lorenzo di Bartoluccio, Florentines, and Jacopo dalla Quercia of Siena, Niccolo d’Arezzo his pupil, Francesco di Vandabrina, 1 and Simone da Colie, sumamed “of the bronzes,” who all promised the consuls to have their panels ready at the appointed time.

They set to work and devoted all their study and diligence, all their strength and knowledge, to surpass each other, keeping what they did close secret, so that they might not light upon the same ideas. Lorenzo alone, who enjoyed the help of Bartoluccio, who made him take great pains and prepare many models before he resolved upon adopting any one of them, continually brought his fellow citizens, and also passing strangers if they understood the trade, to see his work and hear their opinion. By the aid of their criticisms he was enabled to produce a model which was beautifully made and absolutely without a fault. Having shaped his figures and cast the whole in bronze, it proved excellent; and he and his father, Bartoluccio, polished it with such devotion and patience that it was impossible for it to have been better finished. When the time arrived for it to be exhibited in the competition, his panel and those of the other masters were handed over to the art of the merchants to be adjudicated upon. When they came to be examined by the consuls and several other citizens many various opinions were expressed. Numbers of strangers had assembled in Florence, some painters, some sculptors, and some goldsmiths, who were invited by the consuls to come and judge the works in conjunction with others of the same professions who lived in Florence. They numbered thirty-four persons in all, each of them being an adept in his art, and although there were differences of opinion among them, some preferring the style of one and some that of another, yet they were agreed that Filippo di ser Brunellesco and Lorenzo di Bartoluccio had composed and finished a larger number of figures better than Donato had done, although his panel exhibited great powers of design. In that of Jacopo dalla Quercia the figures were good but lacking in delicacy, in spite of the good design and the care bestowed. The work of Francesco di Vandabrina contained good heads and was well finished, but the composition was confused. That of Simone da Colle was a good cast, because he was a founder by profession, but the design was not very good. The production of Niccolo d’Arezzo, showing great skill, was marred by stunted figures and absence of finish. Lorenzo’s alone was perfect in every part, and it may still be seen in the audience chamber of the art of the merchants. The whole scene was well designed and the composition excellent, the figures being slender and graceful, the pose admirable and so beautifully finished that it did not look as if it had been cast and polished, but rather as if it had been created by a breath. Donato and Filippo, when they perceived what diligence Lorenzo had devoted to his work, withdrew to one side and agreed that the work ought to be given to him, for it seemed to them that public and private interests would thus be best served, and as Lorenzo was a young man, not past twenty, he would be able to realize in the production of this work the great promise of his beautiful scene, which; according to their judgment, he had made more excellently than the others: adding that it would be more shameful to dispute his right to preeminence than generous to admit it. Accordingly Lorenzo began on that door opposite the opera of S. Giovanni,’ constructing a large wooden frame for a part of it of the exact size he desired, in the shape of a frame with the ornamentation of heads at the angles about the spaces for containing the scenes and the surrounding friezes. After he had made the mold and dried it with all diligence, he set up a huge furnace, which I remember having seen, and filled the frame with metal. He did this in some premises he had bought opposite S. Maria Nuova, where the hospital of the weavers, known as the Threshing floor, now stands. But realising that all was not going well, he did not lose courage or become distracted, but traced the cause of the disorder and altered his mold with great quickness without anyone knowing it, recasting the world, which came out most successfully. He went on similarly with the rest of the work, casting each scene separately, and then putting them in their appointed places. The division of the scenes was similar to that adopted by Andrea Pisano in the first door designed for him by Giotto.

It is always interesting to go as close as possible to primary sources!

For a PowerPoint on the competition panels, please… Check HERE!

For a Video on the Competition Panels, please Check… smarthistory… https://smarthistory.org/filippo-brunelleschi-and-lorenzo-ghiberti-sacrifice-of-isaac/

Idols & Rivals, Artists in Competition (September 20, 2022 – January 8, 2023) was an interesting Exhibition in the  Kunsthistorischen Museum in Vienna. It showed how in antiquity, the Renaissance, and the Baroque, artists competed with one another and how, in addition, they measured themselves against ancient models. This kind of competition has brought forth some of the best-known works in the history of art. Among the competitors were Brunelleschi and Ghiberti… https://idole-rivalen.khm.at/en/

The Monument of Episkopi on Sikinos

by ArtByzantine ArtByzantine Church ArchitectureByzantiumCycladic ArtRoman ArtStudent ActivitiesWorksheets
The Monument of Episkopi on Sikinos
https://www.europeanheritageawards.eu/winners/monument-of-episkopi/

The Monument of Episkopi on Sikinos, one of the smallest Cycladic islands, is a Roman mausoleum dating back to the 3rd century. Because of its conversion to a Byzantine church, it was continuously used and has therefore survived nearly intact. Its ancient structure, combined with interventions from several historical periods, offers an incomparable palimpsest of archaeological periods that is rarely preserved in ancient monuments. Severely affected by destructive earthquakes and human interventions throughout the centuries, the monument was abandoned in the 20th century. The Ephorate of Antiquities of the Cyclades decided to restore the building in 2016. In 2022 the monument, fully restored and fully studied by the scientific personnel of the Cyclades Ephorate of Antiquities, reopened to the public. https://www.europeanheritageawards.eu/winners/monument-of-episkopi/

How can we introduce the Island of Sikinos? Sikinos is a tiny and rocky island with few permanent inhabitants, located in the Cyclades, between the islands of Ios and Folegandros. It has an area of approximately 42 square kilometers and a population of around 300 people. It is a quiet and peaceful island with a traditional way of life. The main village, called Chora, is built on a hill and has narrow streets, white-washed houses, and stunning views of the Aegean Sea. Other villages on the island include Alopronia, a small fishing village with a sandy beach, and Episkopi, where the historic Episkopi Church is located.

Is the Island of Sikinos related to any Greek Myth? According to Greek Mythology, the island of Sikinos is named after the son of Thoas, King of Lemnos, and son of God Dionysos and Princess Ariadne. Ypsipyli, Thoa’s daughter, trying to save her father from the Lemnian women who were killing the male inhabitants of the island, hid him in a wooden box and threw him into the sea. The waves of the sea led Thoa’s box to the island of Oinoe, where the king married the nymph Niida, who gave birth to a boy called Sikinos. It was Thoa’s son and grandson of Dionysos and Ariadne, who gave his name to the island during his reign.

The History of the Island: The island has a long and fascinating history, dating back to ancient times when the island was known for its vineyards and wine production. The island was also known as an important religious center, with a temple dedicated to Apollo the Pythian located on the island’s highest peak. Sikinos’s history parallels that of the other Cyclades islands, passing from Roman to Byzantine rule, and then falling to the Venetians and the Ottomans.

In the 13th century AD, Sikinos was conquered by the Venetians, who built a fortress on the island to protect it from pirates and other invaders. During this time, the island became an important center for trade and commerce, and its wine was exported throughout the Mediterranean. In the 16th century, Sikinos was occupied by the Ottoman Turks, who ruled the island for nearly 300 years. During this time, the island’s population declined, and many Sikinians migrated to other parts of Greece and to other countries. In the early 19th century, Sikinos became part of the newly formed Greek state, and the island began to experience a period of growth and prosperity. The island’s vineyards were revived, and Sikinos once again became an important center for wine production. https://sikinostravel.com/sikinos-island/history/

The Monument of Episkopi on Sikinos
https://www.europeanheritageawards.eu/winners/monument-of-episkopi/

Which is the most important monument on the Island of Sikinos? Undauntedly Episkopi, or the monument of the Diocese of Sikinos. According to Dr Dimitrios Athanasoulis, Director of the Ephorate of Antiquities of the Cyclades… The monument of the Diocese of Sikinos, one of the smaller islands of the Cyclades, was, originally, a Roman period mausoleum, built during the 3rd century AD. The mausoleum became a Byzantine church, and subsequently, an important landmark of cultural heritage for the island community throughout the centuries. https://www.lifo.gr/now/entertainment/episkopi-sikinoy-ena-monadiko-mnimeio-apodidetai-simera-sto-koino

What new archaeological information did the restoration of Episkopi bring to light? The archaeological research that took place during the restoration of the monument, Dr Dimitrios Athanasoulis said, enriched our knowledge of the funerary monuments of the Roman period in the Eastern Mediterranean region, as well as of Byzantine church building in the Cyclades. During the restoration work of Episkopi, valuable evidence of the past was revealed, such as inscriptions and fragments of Roman and Byzantine frescoes, for the preservation of which a microclimate monitoring system was installed. The most important find was the hermetically sealed, undisturbed burial of a woman of the upper class, named “Neiko”, with findings that betrayed superstitions and necrophobic notions. https://www.lifo.gr/now/entertainment/episkopi-sikinoy-ena-monadiko-mnimeio-apodidetai-simera-sto-koino

Why was the monument of Episkopi on Sikinos bestowed the Europa Nostra Award in 2022? The monument of Episkopi is a cultural landmark and a source of pride for this small island community. Building materials were reused as much as possible and new masonry was incorporated using locally collected stones. The combination of architectural elements of a Roman mausoleum in a Byzantine church forms a unique monument that is simply striking… emphasized by the Awards’ Jury. https://www.europeanheritageawards.eu/winners/monument-of-episkopi/

For a Student Activity, please, Check… HERE!

Agias Son of Aknonios

by Ancient Greek ArtArtPowerpointsSculpture
Agias, Son of Aknonios, Daochos Monument (detail2), c. 336- 332 BC, Marble, Height: 2.09 m, Delphi Archaeological Museum, Greece https://twitter.com/AncientEurope/status/1060343094133080064/photo/3

The family offering of Daochos II, or of the House of the Thessalians was initially erected on the prominent terrace northeast of the temple. It comprises a group of marble statues dedicated to Apollo by Daochos II, a Thessalian dignitary from Pharsalus, who represented his people in the Amphictyonic League of Delphi (336-332 BC) where he served the interests of the Macedonians. Nine statues stood on a narrow space: Apollo (lost) and eight representatives of the dedicator’s powerful family (Agias Son of Aknonios is one of them) who were famous for their political, military and athletic exploits. We know the names and glorious deeds of the men represented from the inscriptions carved on the front of the base. Although the figures are deployed in a line and differ from one another in pose and dress, they nevertheless interact through the symmetrical or contrasting movement of their bodies, gestures, and turns of the head. Rosina Colonia, The Archaeological Museum of Delphi, John S. Latsis Public Benefit Foundation, Athens, Greece, page 321 https://www.latsis-foundation.org/content/elib/book_13/delphoi_en.pdf

Agias, Son of Aknonios, Daochos Monument, c. 336- 332 BC, Marble, Height: 2.09 m, Delphi Archaeological Museum, Greece https://twitter.com/AncientEurope/status/1060343094133080064/photo/1

The monument of Daoxhos II at Delphi, a family portrait gallery of eight statues, showcases six successive generations within the direct family lineage of Daochos II, stretching back to the late 6th century. It starts on the right side of the Monument, with the statue of Apollo (the statue is lost), the deity to whom the monument was dedicated. Based on the size and shallow nature of the carving, it is likely that the statue depicted Apollo in a seated position.

Daochos Monument, c. 336- 332 BC, Marble, Delphi Archaeological Museum, Greece https://en.wikipedia.org/wiki/Ex_voto_of_Daochos

On the right side of Apollo, the unknown artist of the Monument placed the statue of Aknonios, great-great-grandfather of Daochos II, who lived during the Persian Wars and served as Tetrarch of Thessaly. Aknonios is followed by his three sons, all of them distinguished athletes. First comes the oldest son, Agias, the great-grandfather of Daochos II. Placed next to his father following a generational sequence, Agias was a distinguished athlete of Pankration, an Olympian, and the winner of many Panhellenic Games during the 5th century. His brother Telemachos, a 440 BC Olympic Games Wrestling Winner comes next, followed by the younger of the three brothers, Agelaos, a champion Runner. Daochos I, son of Agias, grandfather of the monument’s donor, and Tetrarch of Thessaly for twenty-seven peaceful years are placed next to Agelaos. He is followed by Sisyphus I, his son, a military man, his grandson, and donor, Daochos II, and finally Sisyphus II, the youngest member of the Thessalian family.

The statue of each depicted member of the Thessalian family is differentiated, by pose, anatomy, and dress. Each statue stands alone, yet, their body postures, hand gestures, and the way their heads turn unite them, creating a tight composition.  The represented statesmen, for example, Aknonios and Daochos I, depicted wearing the short chlamys favoured by Macedonian and Thessalian men, look sturdy and solemn. Sisyphus I, the only military representative in the Daochos II group, is presented as if he is giving military orders. As for the rest, Agias, Telemachos, Agelaos, and young Sisyphus II, presented in the nude, are perfect examples of youth and athletic prowess.

The statue of Agias son of Aknonios, and great-grandfather of Daochos II, is the Monument’s most preserved and most significant artwork. The Monument’s epigram, beneath his statue, identifies him as a distinguished athlete… Πρῶτος Ὀλύμπια παγκράτιον, Φαρσάλιε, νίκαις | Ἀγία Ἀκνονίου, γῆς ἀπὸ Θεσσαλίας, | πεντάκις ἐν Νεμέαι, τρις ​​Πύθια, πεντάκις Ἰσθμοῖ · | καὶ σῶν οὐδεὶς πω στῆσε τρόπαια χερῶν… Man from Pharsalos (a town in Thessaly), having won the pankration first in Olympia, Agias, the son of Aknonios, from the land of Thessaly, (you won) five times in Nemea, three times the Pythian Games and five times on the Isthmos; no one has ever erected a victory monument at the expense of your poor.

As an athlete, Agias is depicted in a state of nudity, showcasing his athletic prowess as a victorious competitor. He is depicted standing upright, facing the viewer… but he appears restless! The weight distribution between his legs is not sharply differentiated. There is a lack of pronounced contrast between the weight-bearing, straight, right leg and the free, slightly bent, left leg. The statue appears to shift back and forth between the two stances, rather than standing at ease.

Equally restless seems to be the remaining body posture. The right hip, for example, juts out slightly, yet the overall impression is one of verticality. To the same extent, the arms are not ‘hanging’ down relaxed, but rather held slightly away from the athlete’s body, adding to their dynamic quality. The head, smaller in size compared to the statue’s size, rests on a muscular neck, slightly turning to the left. The facial details convey a sense of distinctive personality with a firmly set, sensual mouth, a rather large nose, and small eyes deeply set into the head. The gaze carried by Agias seems directed into space, imparting a certain detachment from the world. Overall, Agias’s torso, arms, legs, neck, and head, are powerfully built, but the body does not appear heavy. The son of Aknonios is a powerful Pankreatist, yet a tall, slender, elegant, thoughtful man.

Is the statue of Agias at Delphi the artistic creation of Lysippos, the great 5th-century sculptor from Sicyon?

According to modern scholars, Lysippos, the favourite sculptor of Alexander the Great, developed a particular artistic canon aimed at achieving specific effects. The statue of Agias, an idealized 4th century portrait, made long after the athlete’s death as part of the Monument of Daochos II, seems to ‘match’ Lysippos’ distinct artistic ‘effects’. It is characterized by a dynamic, yet ‘restless’ posture, a lean physique, individualized facial features, and a sense of detachment conveyed through the statue’s gaze.

The statue’s connection to Lysippos is further enhanced by an archaeological find at Pharsalos, the birthplace of Agias. A few years back, archaeologists unearthed the base of yet another statue of Agias (the actual statue is lost), which carried an inscription in part nearly identical to the Agias epigram at Delphi. It appears that the Delphi inscription was excerpted from that at Pharsalos, where, at its end, the name of Lysippos, the sculptor, was clearly written.

In conclusion…

The statue of Agias, part of the Monument of Daochos II at Delphi, was erected between the years 337/6 and 333/2 and embodies many artistic characteristics of the Lysippian style. The statue is identified as Agias, son of Aknonios, from an epigram inscribed on its base. This epigram is a copy of the inscription carved on the base of a chronologically older ‘statue’ of Agias discovered in the ancient city of Pharsalos, the birthplace of the athlete. The Pharsalos ‘statue’, commissioned, most probably, by Daochos II as well, believed to be an original creation of the sculptor Lysippos, done in bronze, and dated before 337/6 BC, has sparked many discussions about the creator of the statue of Agias at Delphi. Is it an original work by Lysippos or a copy of his bronze original statue at Pharsalos? Today, it is believed that the Delphic Agias, even if not a faithful replica of Lysippus’ original statue at Pharsalos, belongs to his workshop and, as a work from the 4th century BC, sheds light on the artistic trends of that era.

For a PowerPoint Presentation of the Monument of Daochos II in the Archaeological Museum at Delphi, please… Check HERE!

Bibliography: Rosina Colonia, The Archaeological Museum of Delphi, John S. Latsis Public Benefit Foundation, Athens, Greece (for the Statue of Agias and the Monument of Daochosin Delphi, go to pages 321-324) https://www.latsis-foundation.org/content/elib/book_13/delphoi_en.pdf and  https://www.latsis-foundation.org/content/elib/book_13/delphoi_en.pdf and https://www.perseus.tufts.edu/hopper/artifact?name=Delphi%2C+Daochos+Monument%2C+Agias&object=Sculpture

The Dance by Matisse at the Barnes Foundation

by 20th century ArtArtFrench ArtMuseumsPowerpoints
Henri Matisse, French Artist, 1869 – 1954
The Dance (view of the Main Room, South Wall), Summer 1932 – April 1933, Oil on canvas; three panels, Overall (left): 339.7 x 441.3 cm, Overall (center): 355.9 x 503.2 cm, Overall (right): 338.8 x 439.4 cm, the Barnes, Philadelphia, PA, USA https://collection.barnesfoundation.org/objects/6967/The-Dance/ensemble

My new BLOG POST titled The Dance by Matisse at the Barnes Foundation starts by quoting Professor Yve-Alain Bois, how Matisse himself describes, on two separate accounts, the moment at which he began work on the Barnes Dance composition and the immensity of the surface he had to master or as he phrased it ‘to possess’…. In the first version, it is an architectural rhyme that triggers the onset of this sense of possession: ‘ As I was pacing in front of my seventy-two square meters of white canvas destined to become the decoration of Doctor Barnes, not knowing which way to start, I noticed by chance a rope hanging from a window to a random spot in my studio, standing out and projecting a curve on my canvas. I suddenly had before me the relationship of this curve to the great rectangle of the edges of my decoration.

Unidentified Photographer
Henri Matisse using a bamboo stick to sketch The Dance in his studio in Nice, 1931, Photograph Collection, Barnes Foundation Archives, Philadelphia
https://www.ias.edu/ideas/2016/bois-matisse-barnes

The second documented account, once more quoting Professor Yve-Alain Bois, of what kicked off Matisse’s sense of taking possession, of the immensity of the space he had to cover, is perhaps more surprising than the first… ‘Faced with my huge white canvases, Matisse wrote, I took a model and began a study that had nothing to do with the decoration. At each of the model’s breaks, I relaxed by looking at these great surfaces, absentmindedly—or so I thought. Then, at a certain point, there came a flash of inspiration. I took my big charcoal, attached it to the end of a big bamboo, and began drawing the circle of my dancers, from one end to the other of my thirteen-meter surface. I’d got off the mark, taken possession of my surface entirely through the power of my imagination. That’s how I made my painting: entirely from feeling, without a model.’

It was the 27th of September, 1930, when Matisse, while touring the United States by train, made a detour to the Barnes Foundation because it housed a significant number of his artworks. He was a man in trouble… I have made several attempts to paint, he wrote to his daughter, Marguerite, in 1929, but when faced with the canvas, I find myself devoid of inspiration… The once-upon-a-time enfant terrible experienced a disheartening period of creative stagnation.

The artist was 60 years old, and lived in Nice, for the past thirteen years. Employing vibrant patterns and radiant colors illuminated by the Mediterranean light, he found himself falling into a repetitive style, capturing captivating female models within the confines of his studio. By 1927, certain critics questioned whether this once-radical artist had lost his innovative spark. They were wondering whether the aging painter of the odalisques was the man André Breton described as ‘a discouraging and discouraged old lion’.

Back in Philadelphia, in September of 1930, visiting the Barnes Foundation, and talking with its founder and owner, Dr. Albert Barnes, Matisse’s creativity ‘issue’ was put to test… According to Cynthia Carolan, a docent at the Barnes Foundation, Dr. Barnes approached the aging painter, engaged him in a gentle critique of his Nice paintings, and acknowledged their sensuous and captivating nature, but suggested they lacked the weightiness of his earlier works. Then, the collector extended an invitation to Matisse, offering him a commission to create a painting that would suit the lunettes, the grand arches above the windows, on the southeast wall of his newly established gallery.

It was a challenge Matisse could not refuse. It would be the only commissioned artwork within the Barnes collection, created specifically for an architectural area of the building. It was a ‘grand’ project as he was expected to create a ‘mural’ in a space that spanned a width of approximately 13.7 meters. It would consist of three distinct canvases, with borders that would converge. Barnes gave Matisse free rein in the choice of subject matter; the agreement simply specified the size of the mural and its place on the southeast wall of the Main Gallery. For Matisse, who had never created anything this large, it was a new beginning!

Henri Matisse, French Artist, 1869 – 1954
The Dance, Summer 1932 – April 1933, Oil on canvas; three panels, Overall (left): 339.7 x 441.3 cm, Overall (center): 355.9 x 503.2 cm, Overall (right): 338.8 x 439.4 cm, the Barnes, Philadelphia, PA, USA https://collection.barnesfoundation.org/objects/6967/The-Dance/

Matisse soon chose the subject of The Dance to embellish the three arches that extended above the French windows. The motif represented an expression of vitality and rejuvenation, a theme that had preoccupied him since he was inspired by the sight of the Catalan fishermen dancing the sardaña on the beach at Collioure in the summer of 1905. He rented the space of an old garage, big enough to work on the outsized canvases, turned to his 1909 and 1910 paintings of Dance 1 and Dance II for inspiration… and started facing the challenges!

Henri Matisse, French Artist, 1869 – 1954
Study for Barnes Mural, Ocher Harmony, 1930–31, oil on canvas, 22×88 cm, Musée Matisse Nice, France
https://philamuseum.org/calendar/exhibition/matisse-1930s

‘Possessing’ the magnitude of the space he had to cover was his biggest challenge. Designing his dancers with correct proportions for the architectural space they would ‘inhabit’ was another one. Using large zones of flat colors that resist the typical illusion of depth and invite the Foundation’s viewers to gentle contemplation was yet, another.

Matisse experimented for a whole year… By using a long bamboo pole attached to a pencil as an elongated drawing device to sketch the dancers’ shapes, Matisse invented a new drawing tool. By cutting large pieces of pre-coloured paper and pinning them up, he solved the problem he faced of setting the piece’s correct proportions. For the first time, Matisse used scissors as an art tool, ushering in the age of his renowned cut-outs. He also began using a camera to document his process so he could compare changes from day to day.

The Dance in Philadelphia, at the Barnes Foundation, marked a return to a modernist style, ultimately creating a dynamic composition depicting bodies that seem to jump across abstracted spaces of pink and blue fields. Matisse struggled and changed the course of action many times, but in the end, ever so innovative, reached his goal and reclaimed his position as a leading figure in the tradition of decorative mural painting… to do it publicly and on a grand scale.

For a PowerPoint on the theme of Matisse and Dance, please… Check HERE!

Bibliography: https://www.ias.edu/ideas/2016/bois-matisse-barnes and https://www.bbc.com/culture/article/20230118-matisses-the-dance-the-masterpiece-that-changed-history and https://collection.barnesfoundation.org/objects/6967/The-Dance/

House of the Faun

by Ancient Roman VillasArtMosaicsPowerpointsRoman Art
The Latin inscription HAVE, translated as Welcome in English, salutes visitors to the largest and most luxurious residence in Pompeii, The House of the Faun, 2nd century BC to 79 AD, Pompeii, Italy
http://pompeiisites.org/en/archaeological-site/house-of-the-faun /

The House of the Faun is the grandest and most lavishly decorated private residence in ancient Pompeii. Originally serving as the home of a privileged family, this remarkable house, constructed in the latter part of the second century BC, circa 180 BC to be specific, occupied an entire city block and boasted an expansive interior spanning approximately 3,000 square meters. Home to many spectacular pieces of art, the House of the Faun stands out for its opulent floor mosaics, some of which remain in their original positions, while others are exhibited at the National Museum of Naples.

House of the Faun, the large Tuscan Atrium of the House of the Faun in Pompeii with a central impluvium (rainwater basin) and the bronze statue of the Dancing Faun, a Roman copy of a Hellenistic original bronze statue, 0.64 cm, National Museum of Naples, Italy https://www.worldhistory.org/image/11263/the-atrium-of-the-house-of-the-faun-in-pompeii/

The title, House of the Faun, derived from an original bronze figurine portraying a dancing Faun situated at the heart of a white limestone Impluvium (Plan No. 27), a basin for collecting water. Fauns, ethereal beings associated with untamed forests, were frequently linked by Romans to Pan and Greek satyrs, who were followers of Dionysus, the Greek deity associated with wine and agriculture. The original bronze statuette of the Dancing Faun is in the National Museum of Naples, thus the statue seen in the house’s ruins today is a copy.

The elaborate and sophisticated architectural plan of the House of the Faun reflects the wealth and social status of its occupants and follows the standard Roman architectural style of a Domus (private family house) but on an exceptionally grand scale. The House had, for example, two main Entrances, (Plan No 2bold and No 5bold). The principal Entrance (Plan No. 2bold) led to the Tuscan Atrium (Plan No. 27), while a secondary Entrance (Plan No. 5bold) led directly to the Tetrastyle Atrium (Plan No. 7)  and the service areas. The Tuscan Atrium, with a large open hall, the heart of the house, had the impluvium in the center, a basin that collected rainwater, with a small bronze statue of a Dancing Faun, giving the house its name.

Around the Tuscan Atrium were various rooms including cubicula (bedrooms), a tablinum (office or study), and triclinia (dining rooms). A special room, the Exedra (Plan No. 37), was off the smaller Peristyle (Plan No. 36) and contained the famous Alexander Mosaic.

Mosaic of Alexander and Darius, 2nd century BC, Naples Archaeological Museum, Italy https://mann-napoli.it/en/mosaici-2/#gallery-4

The house had two Peristyles (Plan No. 36 and No. 39) or colonnaded courtyards. The larger one (Plan No. 39), was essentially a garden surrounded by a colonnade. The second smaller Peristyle (Plan No. 36) was more private and was linked to the private living areas. Separate service quarters were attached to the secondary entrance and the Tetrastyle Atrium (Plan No. 5bold and No. 7). These included the kitchen, a small bathing complex, slave quarters, and storerooms. On the exterior, the house had tabernae or shops (Plan No. 1, No 2, No 3, and No 4). These were leased out to generate additional income.

The House of the Faun represents a clear example of how the Romans valued both private and social aspects of life, and how they incorporated this into their architecture.

This residence is most famous for its intricate and beautifully preserved mosaics, which not only demonstrate the wealth and status of its inhabitants but also provide an insight into the aesthetic tastes of the Roman elite during this period. The mosaics serve as invaluable examples of the ancient Roman mosaic tradition, each one unique in design and execution.

The most famous mosaic found in the House of the Faun is the Alexander Mosaic, which covered the floor of the Exedra (Plan No. 37). The mosaic, dated during the 2nd century BC, is believed to depict the Battle of Issus (333 BC) between Alexander the Great and Darius III of Persia. The mosaic is lauded for its attention to detail, dramatic energy, and sophisticated use of perspective, showcasing a high degree of artistic skill.

The mosaic I find particularly touching presents one word only. It was placed in front of the main entrance to the House (Plan No. 2bold), reading HAVE, a Latin word meaning ‘Greetings’ or ‘Welcome’. Isn’t it a particularly welcoming touch to the grandeur of this spectacular Pompeiian house?

The PowerPoint I prepared for my new BLOG POST the House of the Faun has two Parts. The first consists of photos of the House itself. The second part of the PowerPoint presents photos of its famous Mosaics. For the PowerPoint, please… Check HERE!

This Video dedicated to the House of Faun is worth seeing… https://www.youtube.com/watch?v=-X4i0psJ2p0

The Hours of Jeanne d’Evreux Queen of France

by 14th century ArtArtFrench ArtInternational Gothic ArtStudent ActivitiesWorksheets
Jean Pucelle, French, active Paris, 1319–34
The Hours of Jeanne d’Evreux, Queen of France, Folios 9v-10r, Calendar Pages for September, ca. 1324-28, Grisaille, tempera, and ink on vellum, Single folio: 9.2 x 6.2 cm, the MET, NY, USA Jean Pucelle | The Hours of Jeanne d’Evreux, Queen of France | French | The Metropolitan Museum of Art (metmuseum.org)

The Hours of Jeanne d’Evreux, Queen of France, is a famous medieval illuminated manuscript created around the year 1324-1328. Currently housed in the collection of the Metropolitan Museum of Art in New York City, on display at the Cloisters, the manuscript is considered one of the most exquisite examples of Late Gothic manuscript illumination. It was probably commissioned for Jeanne d’Evreux, by her husband, King Charles IV of France, between the date of their marriage in 1325 and his death three years later.

At first glance, this tiny prayer book, the size of each vellum folio is 9.2 x 6.2 cm, with not a trace of gold, might seem an unlikely possession for a queen of France. The Hours of Jeanne d’Evreux, however, offers much more than meets the eye. This manuscript consists of 209 folios, containing not only twenty-five full-page paintings featuring depictions of significant moments from the Infancy and Passion of Christ, but also scenes portraying the life of Saint Louis, a notable ancestor of Queen Jeanne. Additionally, the margins of the manuscript are adorned with an astonishing array of nearly 700 illustrations. These illustrations vividly portray a diverse tapestry of medieval Parisian society, including bishops, beggars, street dancers, maidens, and musicians. Furthermore, interspersed among these depictions are whimsical creatures from the realm of pure fantasy, such as apes, rabbits, dogs, and other enigmatic beings. The combination of meticulously crafted religious imagery and glimpses into the vibrant urban life of medieval Paris makes The Hours of Jeanne d’Evreux an extraordinary testament to the artistic and cultural milieu of the time. https://www.metmuseum.org/art/collection/search/470309

Diminutive in size, the Hours of Jeanne d’Evreux was made between 1324 and 1328 https://www.facsimilefinder.com/facsimiles/hours-jeanne-evreux-facsimile
Jean Pucelle, French, active Paris, 1319–34
The Hours of Jeanne d’Evreux, Queen of France, Folios 15v-16r, The Betrayal of Christ and The Annunciation to Mary, 1324-28, Grisaille, tempera, and ink on vellum, Single folio: 9.2 x 6.2 cm, the MET, NY, USA https://commons.wikimedia.org/wiki/File:4_Jean_Pucelle._Hours_of_Jeanne_d%27Evreux._1325-28,_Metropolitan_Museum,_New-York.jpg

While there is no positive proof establishing the identity of the artist behind the Cloisters manuscript, three extraordinary documents, Jeanne d’Evreux’s will, King Charles V’s inventory of treasures, and the successive 1401 and 1406 inventories of the collection of Jean, Duc de Berry, led scholars to accept Jean Pucelle as the artistic genius behind the manuscript’s illuminations.

Jean Pucelle was a fine Parisian manuscript illuminator of impeccable taste and refined elegance. He was a great innovator, introducing the art of Giotto and Ducio to Northern Europe. He had the ability to present sculpturally modeled figures, capture psychological expressions, and convey human emotions. Finally, Pucelle was the artist who presented ideas such as the use of naturalistic settings and narrative continuity within his miniatures.

His name became synonymous with exceptional craftsmanship and artistic excellence, but much of his life remains shrouded in mystery. However, his surviving works serve as a testament to his profound impact on the art of illumination during the medieval period, earning him a well-deserved place among the great masters of the era.

The illuminated manuscript of Jeanne d’Evreux in the Cloisters is a Book of Hours, that is, a devotional and instructional book that was popular in Western Europe during the Middle Ages. It was primarily used by laypeople, particularly wealthy individuals, for personal prayer and devotion. It was essentially a private prayer book, containing a collection of prayers, psalms, hymns, and other religious texts, often accompanied by illustrations. It was called a “Book of Hours” because it typically included a series of prayers that were meant to be recited at specific times throughout the day, corresponding to the canonical hours of the liturgical day.

The book usually began with a calendar, which listed important feast days and saints’ days. It would then include various sections, such as the Hours of the Virgin Mary, the Office of the Dead, and other prayers dedicated to specific saints or events. Each section would contain specific prayers, psalms, and readings associated with the particular devotion.

The decoration for the Calendar page in Books of Hours can vary depending on the specific manuscript and the artistic style of the time. For The Hours of Jeanne d’Evreux, Pucelle employed scenes depicting the agricultural activities commonly carried out each month of the year, such as plowing, sowing seeds, or tending to crops, along with scenes of the countryside, fields, or farms. For the Month of September, the artist chose to depict the labor of harvesting or tending to the vineyards. Pucelle’s page shows workers engaged in grape harvesting and winemaking activities, such as picking grapes, stomping on them, and hungrily tasting the fruits of their labour.

Jean Pucelle, French, active Paris, 1319–34
The Hours of Jeanne d’Evreux, Queen of France, Folios 9v-10r (detail), Calendar Pages for September, ca. 1324-28, Grisaille, tempera, and ink on vellum, Single folio: 9.2 x 6.2 cm, the MET, NY, USA Jean Pucelle | The Hours of Jeanne d’Evreux, Queen of France | French | The Metropolitan Museum of Art (metmuseum.org)

What I like most is how the illuminations created for the Hours of Jeanne d’Evreux employ a diverse range of artistic techniques. One of them is the grisaille technique, described as de blanc et noir in French, which involves using shades of gray created through hatching and cross-hatching. Grisaille, however, is not enough for Jean Pucelle. He wants to introduce vibrant colours, so along with grisaille, he adds tempera paints as well. The combination of these two techniques, known as “camaïeu gris,” results in a harmonious interplay of grayscale and color. The application of grisaille and the skillful use of tempera bring forth a visually captivating effect, enhancing the overall aesthetic appeal of the manuscript.

Overall, the Hours of Jeanne d’Evreux is not only a masterpiece of medieval art, characterized by its elegant figures, attention to detail, and a fusion of naturalistic and stylized elements. It is a valuable historical artifact as well, providing insight into the artistic, cultural, and religious practices of the French royal court during the 14th century.

Its delicate illuminations and meticulous craftsmanship make it a treasured example of medieval book art, and it continues to inspire and captivate viewers to this day.

For a Student Activity, please… Check HERE!

A Coign of Vantage by Sir Lawrence Alma-Tadema

by 19th century ArtArtArt of the United KingdomPowerpointsVictorian Art
Sir Lawrence Alma-Tadema, O.M., R.A., R.W.S., Anglo-Dutch Artist, 1836-1912
A Coign of Vantage, 1895, Oil on Canvas, 63.8 x 44.7 cm, Private Collection https://www.telegraph.co.uk/art/what-to-see/alma-tadema-home-antiquity-leighton-house-museum-review/

Sir Lawrence Alma-Tadema was a renowned Dutch-born British painter who had a profound interest in Roman antiquity. He was one of the leading artists of the late 19th century and early 20th century, specializing in historical and classical subjects. Alma-Tadema’s fascination with Roman antiquity was central to his artistic vision and played a significant role in shaping his career. The painting A Coign of Vantage by Sir Lawrence Alma-Tadema, regarded as one of the artist’s quintessential masterpieces, is a favourite of mine! SIR LAWRENCE ALMA-TADEMA, O.M., R.A., R.W.S. (BRITISH, 1836-1912) (christies.com)

The painting A Coign of Vantage by Sir Lawrence Alma-Tadema has an interesting title! The phrase comes from Shakespeare’s Macbeth, no jutty, frieze, Buttresss, nor coign of vantage, but this bird Hath made his pendent bed and was later popularized by Sir Walter Scott. The word coign, meaning a projecting corner or cornerstone, is a variant of the coin from Old French meaning ‘wedge, corner, die’, from Latin cuneus ‘wedge’. Sir Lawrence Alma-Tadema’s painting is perfectly titled! https://www.encyclopedia.com/humanities/dictionaries-thesauruses-pictures-and-press-releases/coign-vantage

The focal point of the painting is a group of three young women, elegantly dressed in vibrant gowns, olive green, beige, white, and pink, standing on a marbled terrace, over a thrilling, vertiginous drop, an advantageous viewpoint, overlooking the sea below. May I suggest this is the island of Capri and the Bay of Naples, in the distance? The women stand against a marble railing and gaze down at the sea, where a luxuriously decked trireme is depicted arriving. The composition is further enhanced with the addition of an impressive bronze sculpture of an animal, wreathed with vibrant yellow flowers. Was the artist inspired by the Egyptian Sphinx he probably saw in Villa San Michele on Capri? Alma-Tadema would have visited the famous Villa after inspecting the sites at Pompeii and Herculaneum, seeking inspiration for his pictures, and gathering material for use as props for his paintings. https://www.christies.com/lot/lot-6426695?ldp_breadcrumb=back&intObjectID=6426695&from=salessummary&lid=1

Sir Lawrence Alma-Tadema, O.M., R.A., R.W.S., Anglo-Dutch Artist, 1836-1912
A Coign of Vantage (detail), 1895, Oil on Canvas, 63.8 x 44.7 cm, Private Collection https://makeupandbeautyblog.com/daily-photo/more-pics-of-a-coign-of-vantage/
The Sphinx at Villa San Michele, approximately 3200 years old, Red Granite, Villa San Michele, Anacapri, Italy https://www.villasanmichele.eu/collection

The painting A Coign of Vantage is a prime example of Alma-Tadema’s ability to transport viewers to a distant time and place, evoking a sense of nostalgia and fascination for the grandeur of ancient Rome. The painting captures the artist’s dedication to historical accuracy, his love for opulent settings, and his skill in creating an alluring atmosphere through his meticulous technique. This is a picture of grand luxe, according to the experts at Christie’s, ease and well-being, an escapist fantasy perfectly attuned to the wishes of a picture-buying public who reveled in the warmth of its Mediterranean light. At the height of his fame, his pictures of Ancient Rome, wealthy, secure, and insouciant, reflected the success enjoyed by the newly rich plutocrats of Victorian Britain, who had made their fortunes building another Empire, a couple of millennia later. https://www.christies.com/lot/lot-6426695?ldp_breadcrumb=back&intObjectID=6426695&from=salessummary&lid=1

A view of the Blue Parlor in the Temple of Wings Mansion, and Alma-Tadema’s painting ‘A Coign of Vantage’ as displayed in the Parlor… The contents of the Ann and Gordon Getty Collection in their Mansion, The Temple of Wings were auctioned at Christie’s (May 31 – June 15, 2023) https://www.artandobject.com/news/masterpieces-alma-tadema-moore-and-bouguereau-headline-getty-collection-auction

Sir Lawrence Alma-Tadema, born as Lourens Alma Tadema on January 8, 1836, and died on June 25, 1912, was a Dutch-born British painter. He is known for his meticulously detailed and beautifully rendered paintings depicting scenes from ancient civilizations, particularly ancient Rome, and Egypt. Alma-Tadema’s works often portrayed opulent interiors, lavish costumes, and intricate architectural details, capturing the splendor and decadence of the ancient world.

His paintings typically featured historical or mythological themes, and he was known for his thorough research and attention to detail. Alma-Tadema would often reconstruct historically accurate settings for his works, using models, props, and costumes to bring his visions to life. His compositions were carefully arranged, with an emphasis on color, light, and texture. They were highly sought after, and he had a significant influence on later artists. His attention to detail and ability to create immersive and visually stunning scenes made him one of the most successful painters of the late 19th century.

For a PowerPoint presentation of 10 Important Paintings by Sir Lawrence Alma-Tadema inspired by Ancient Rome, please… Check HERE!

Roman Enameled Glass

by ArtPowerpointsRoman Art
Goblet with a Gladiator, Begram Hoard, 1st century AD, Enameled Glass, Height:  cm, Guimet Museum, Paris, France https://twitter.com/AntiokhosE/status/1615092377340846089
Vase fragment depicting African Hunt, Begram Hoard, 1st century AD, Enameled Glass, Guimet Museum, Paris, France https://depts.washington.edu/silkroad/museums/mg/begram.html
Goblet with the abduction of Europe, Begram Hoard, 1st century AD, Enameled Glass, Height: 16 cm, Guimet Museum, Paris, France https://commons.wikimedia.org/wiki/File:Goblet_Abduction_of_Europa_Begram_Hoard_Guimet_MG21228_n01.jpg

The earliest glass vessel decorated with enameling, write the Corning Museum experts, dates from about 1425 BC. It successfully combines one of humankind’s oldest creative urges (the desire to draw on things) with one of the most advanced technologies of the ancient world (glassmaking). Interestingly, and surprisingly, the next step in decorating with enameling takes fourteen centuries to occur. The absence of enameling on Greek and Hellenistic glass, with no surviving artifacts or documentary descriptions, up until now, directs us to assume that both the concept of this type of decoration and the means to realize it were simply lost and long-awaited rediscovery. All changed during the early decades of the 1st century AD. The gap was bridged, and the technical challenges were achieved. The creation of luxurious Roman Enameled Glass vessels started and lasted over a period of about 300 years. https://www.cmog.org/article/enameled-glass-vessels-1425-bce-1800-decorating-process

Roman enameled glass artifacts fascinate me. They showcase a unique combination of glass craftsmanship and enamelwork, resulting in stunning decorative pieces. While I am not an expert in glass, I am eager to learn. The Corning Museum of Glass website provides valuable information on enameled glass, so allow me to address some questions, starting with “What” and “How.” A valuable addition will be the PowerPoint presentation I have compiled, featuring significant examples of Roman enameled glass artifacts from museums around the world… Click HERE! and judge for yourselves!  https://home.cmog.org/ and https://www.cmog.org/article/enameled-glass-vessels-1425-bce-1800-decorating-process

What is Enameled Glass? Enameled glass is a type of glass that has been decorated with a layer, or more, of colored or opaque vitreous enamel. Enamel is a powdered glass material that is mixed with pigments or metallic oxides to achieve various colors and effects. The enameling process involves applying the enamel powder onto the surface of the glass and then heating it in a low-temperature muffle kiln (about 965°-1300°F or 500°-700°C). This heat fuses the enamel to the glass, creating a durable and permanent bond. Sometimes, several firings are required to fuse the different colors of an elaborately enameled object. https://allaboutglass.cmog.org/definition/enamel and Objects and Techniques | The Techniques of Renaissance Venetian Glassworking (cmog.org)

Why did artists use the Enameled Glass technique? Enameled glass is often used for decorative purposes due to its ability to add color, pattern, and texture to glass surfaces. It can be found in various applications, such as art glass, stained glass windows, decorative panels, glassware, and architectural elements. The enamel coating on the glass can be transparent, allowing light to pass through, or opaque, blocking the transmission of light. The choice of enamel color, texture, and design can be customized to suit specific aesthetic preferences or design requirements.

How did Enameled Glass develop, chronologically up and including the Renaissance period, in Europe? A. Roman Period: The discovery of glassblowing during the Roman period made glass affordable and widely available for ordinary domestic purposes. However, the Romans also produced some of the most lavish luxury glass ever made. This is also the time when luxurious glass enamel originated as well. B. 5th – 12th Century AD: The Early Middle Ages saw less advancement in Enameled Glass in Europe due to the fall of the Western Roman Empire and societal changes. There’s evidence, however, of continuous tradition in the Byzantine Empire. C. Late Medieval Period: The first major revival of enameled glass occurred during the late Medieval period. This is also when we see the first instances of stained glass windows in churches, which used enamel for detailed painting and shading. Venice, and the island of Murano to be specific, became the greatest European Glass-making center. D. Renaissance Period: The development of enameled glass greatly increased during the Renaissance. In Venice/Murano, the most important center for glassmaking, artists developed new enameling techniques that allowed for greater detail and more vibrant colours. https://www.cmog.org/article/enameled-glass-vessels-1425-bce-1800-decorating-process

How can Roman Enameled Glass production be described aesthetically? The aesthetic effects of Roman artifacts made from enameled glass can be described as opulent, vibrant, and intricate. These effects were intended to showcase the wealth, status, and refined taste of their owners. The combination of glass and enamel craftsmanship resulted in a unique fusion of materials, creating objects that exuded beauty and sophistication.

Bowl fragments depicting Combat Scenes, Begram Hoard, 1st century AD, Enameled Glass, Guimet Museum, Paris, France https://twitter.com/SusanRahyab/status/1554483598748749824/photo/4

The vibrant colors used in Roman enameled glass, achieved through the application of enamel, added a sense of liveliness and richness to the artifacts. The various shades of blues, greens, yellows, reds, and whites created a visually dynamic and eye-catching effect. The colors were often complemented by the addition of gilding or gold leaf, further enhancing the luxurious appearance of the pieces.

The Bird Cup, 20-50 AD, Enameled Glass, Civic and Archaeological Museum, Locarno, Switzerland https://hls-dhs-dss.ch/it/articles/002115/2010-03-30/

The intricate scenes found in Roman enameled glass artifacts showcased the high level of skill and attention to detail of the artisans. Geometric designs, floral motifs, organic patterns, and figurative compositions were meticulously executed, creating a sense of complexity, visual depth, delicacy, and refinement to the overall design.

The layered and multicolored effects, achieved by applying enamel in successive layers, added a sense of dimensionality and complexity to the artifacts. The juxtaposition of different colors and patterns created a captivating visual interplay, drawing the viewer’s attention and enhancing the overall aesthetic appeal.

The aesthetic effect of Roman enameled glass production also reflects the broader artistic sensibilities of the Roman Empire. It embodies the fusion of influences from various cultures, including Hellenistic, Egyptian, and Near Eastern, resulting in a unique and eclectic style that was distinctively Roman.

For a PowerPoint, please… Check HERE!

Warhol by Basquiat Basquiat by Warhol

by 20th century ArtAmerican ArtArtStudent ActivitiesWorksheets
Jean-Michel Basquiat, American Artist, 1960-1988
Dos Cabezas, October 4, 1962, acrylic and oil stick piece created on canvas and mounted on wood supports, 151.8  × 154 cm, Private Collection
Andy Warhol, American Artist, 1928-1987
Self-Portrait with Jean-Michel Basquiat, October 4, 1962, Polaroid, Collection Bischofberger, Männedor-Zurich, Switzerland
(Photos: Amalia Spiliakou, May of 2023, Exhibition Basquiat × Warhol. À Quatre Mains, Fondation Louis Vuitton)

On the 8th of May, while in Paris, I visited the Exhibition Basquiat × Warhol. À Quatre Mains (From 05.04.2023 to 28.08.2023) at Fondation Louis Vuitton. Two Portraits of the famous duo, the first a Polaroid Photo of the two artists by Andy Warhol, the other, a painted version of the Warhol Polaroid by Basquiat, were the first steps taken towards an artistic collaboration that started on the 4th of October 1982 and resulted in about 160 paintings. My new BLOG POST titled Warhol by Basquiat Basquiat by Warhol will present you with the first impressions of the legendary first meeting of the two artists, organized by Swiss Gallery owner Bruno Bischofberger, as documented by the protagonists.

At Fondation Louis Vuitton for the Basquiat x Warhol, À Quatre Mains Exhibition… (Photo Credit: Katerina Floran-Ioannou)

Down to meet Bruno Bischofberger (cab $7.50). He brought Jean-Michel Basquiat with him. He’s the kid who used the name ‘Samo’ when he used to sit on the sidewalk in Greenwich Village and paint T-shirts, and I’d give him $10 here and there and send him up to Serendipity to try to sell the T-shirts there. He was just one of those kids who drove me crazy… And so had lunch for them and then I took a Polaroid and he went home and within two hours a painting was back, still wet, of him and me together. And I mean, just getting to Christie Street must have taken an hour” (A. Warhol, ‘October 4, 1982″, The Andy Warhol Diaries, ed. P. Hackett, New York, 1989, p. 462).… Warhol wrote in his Diary.

Andy Warhol’s diary entry provides a glimpse into his interaction with Jean-Michel Basquiat, highlighting the first dynamics of their relationship and capturing the essence of their future artistic connection. Warhol’s introduction to the meeting sets the tone for the casual and straightforward nature of the rest of the entry. Jean-Michel Basquiat, mentioned as the kid who used the name ‘Samo’  is significant. The reference to Warhol providing Basquiat with occasional financial support and sending him to sell his T-shirts at Serendipity adds a layer of mentorship or support that Warhol extended to the young artist. Warhol’s remark about Basquiat driving him crazy, however, hints at the upcoming complexities of their relationship. It suggests that Basquiat may have been a somewhat challenging individual to handle, but it’s also possible that Warhol found him intriguing or enigmatic in some way. The diary entry captures a sense of Warhol’s enduring fascination with unique and unconventional characters.

Andy Warhol, American Artist, 1928-1987
Self-Portrait with Jean-Michel Basquiat, October 4, 1962, Polaroid, Collection Bischofberger, Männedor-Zurich, Switzerland (Photo: Amalia Spiliakou, May of 2023, Fondation Louis Vuitton)
Jean-Michel Basquiat, American Artist, 1960-1988
Dos Cabezas, October 4, 1962, acrylic and oil stick piece created on canvas and mounted on wood supports, 151.8  × 154 cm, Private Collection (Photo: Amalia Spiliakou, May of 2023, Fondation Louis Vuitton)

The mention of lunch together highlights the casual nature of their encounter. It’s noteworthy that Warhol took a Polaroid photograph of himself and Basquiat, capturing the moment of their meeting. The fact that Basquiat promptly painted a portrait of both of them, which Warhol describes as still wet, demonstrates Basquiat’s creative energy and immediate response to the encounter.

Overall, Andy Warhol’s diary entry provides a glimpse into his interaction with Jean-Michel Basquiat, highlighting the dynamics of their relationship and capturing the essence of their artistic connection. It showcases Warhol’s role as a mentor and the impact he had on Basquiat’s early career, while also revealing the complexities and idiosyncrasies of their shared artistic world.

Responsible for organizing the meeting between the two artists was Bruno Bischofberger, the Swiss gallery owner, who, at the time, represented both Andy Warhol and Jean-Michel Basquiat. His recollection of the Warhol-Basquiat first meeting expands upon the diary entry by providing additional details and emphasizing the creative exchange between the two artists. It portrays a sense of mutual artistic admiration and the vibrant energy that surrounded their interaction, further enriching our understanding of this significant moment in art history.

Warhol photographed Basquiat with his special Polaroid portrait camera. Jean-Michel asked Warhol whether he could also take a photo of him, took some shots, and then asked me to take some photos of him and Warhol together. We then wanted to go next door to have the customary cold buffet lunch. Basquiat did not want to stay and said goodbye. We had hardly finished lunch, one, at most one and half an hour later, when Basquiat’s assistant appeared with a 150 x 150 cm (60″ x 60″) work on canvas, still completely wet, a double portrait depicting Warhol and Basquiat: Andy on the left in his typical pose resting his chin on his hand, and Basquiat on the right with the wild hair that he had at the time. The painting was titled Dos Cabezas. The assistant had run the ten to fifteen blocks from Basquiat’s studio on Crosby Street to the Factory on Union Square with the painting in his hands because it wouldn’t fit into a taxi. This is how Bischofberger, who facilitated the meeting, recalled the events that led to the famous artworks!

For a Student Activity, please… Check HERE!

Valuable Information for my BLOG POST came from… https://www.christies.com/lot/lot-5371726/?intObjectID=5371726

For Information and two short Videos on the Exhibition at Fondation Louis Vuitton, please… Check… Basquiat × Warhol. Painting four hands (fondationlouisvuitton.fr)