Saint in Prayer

Joaquín Sorolla y Bastida, Spanish Artist, 1863-1923
Saint in Prayer, 1888 – 1889, Oil on Canvas, 78×61 cm, Prado Museum, Madrid, Spain https://www.museodelprado.es/en/the-collection/art-work/saint-in-prayer/992c8493-24c0-49ed-ac58-a4b690099b81

Joaquín Sorolla y Bastida is a favourite Spanish artist of the late 19th early 20th century art scene. Saint in Prayer is a small gem of a painting, I find particularly intriguing. The Prado Museum description of its composition sets the tone masterfully… The small, frail figure of the young saint is placed before a sumptuous geometrically decorated golden backdrop. Sorolla must have used templates to produce some of the decoration, particularly the small squares on the surface of the wall and the gold circles on the dress, although in other cases he uses his brush to achieve the same effect. Particularly attractive is the combination of different circular shapes: the gold halo, the circle around a border with plant and animal motifs, the little circles on the dress. All are inspired by decorative patterns typical of the High Middle Ages. https://www.museodelprado.es/en/the-collection/art-work/saint-in-prayer/992c8493-24c0-49ed-ac58-a4b690099b81

Born in Valencia in 1863, Joaquín Sorolla y Bastida showed an early talent for art, which led him to train at the Academy of San Carlos in his hometown. After completing his studies, he moved to Madrid, where he spent countless hours at the Museo del Prado, studying the works of great Spanish masters like Velázquez and El Greco. In 1885, a scholarship allowed him to study in Rome, deepening his exposure to classical art. He later spent time in Paris, where he encountered the emerging Impressionist movement, which influenced his focus on natural light and color. These experiences, combined with his Mediterranean roots, shaped his signature style, marked by vibrant depictions of sun-drenched beaches and lively scenes from everyday life.

Throughout his life, Sorolla explored a wide range of subjects, from portraits and landscapes to social themes, yet his hallmark was the interplay of natural light, and his ability to capture the luminosity of the Spanish coast as exemplified in his painting Boys on the Beach (Tacher Curator BLOG POST of July 26, 2024). Marked by success in international exhibitions, gaining recognition for his vivid, sunlit canvases and his vibrant brushwork, Sorolla became one of Spain’s most celebrated artists. https://www.teachercurator.com/art/boys-on-the-beach-by-joaquin-sorolla-y-bastida/

On the 8th of September 1888, in Valencia, Sorolla married Clotilde García del Castillo, his confidant, traveling companion, bookkeeper (or in his words, “my Treasury Minister”), and muse. Shortly after, along with his friend Juan Antonio’s sister, the couple travelled to Italy and spent a period in Assisi where Sorolla began to paint “genre scenes” to earn a living. https://www.metmuseum.org/art/collection/search/437706

Joaquín Sorolla y Bastida, Spanish Artist, 1863–1923
Señora de Sorolla in Black, 1906, Oil on Canvas, 186.7 x 118.7 cm, the MET, NY, USA https://commons.wikimedia.org/wiki/File:Se%C3%B1ora_de_Sorolla_
(Clotilde_Garc%C3%ADa_del_Castillo,_1865%E2%80%931929)_in_Black_MET_DP168810.jpg
Sorolla painting ‘Clotilde in a Black Dress’, 1905. Photograph by Christian Franzen © Museo Sorolla, Madrid, Spain
https://www.nationalgallery.org.uk/exhibitions/past/sorolla/what-you-need-to-know-about-sorolla

This period was pivotal in shaping Sorolla’s artistic development, as it introduced him to the Italian Renaissance masters. During this time, he concentrated on religious subjects, one notable example being Saint in Prayer (1889), now housed in the Museo del Prado. The painting reflects Sorolla’s sensitivity to spiritual themes, employing a soft, glowing light that reveals his growing ability to capture mood through illumination—a hallmark of his later, more renowned works. Treasured by Sorolla and his wife, the piece held a special place in their home. In his 1906 portrait Señora de Sorolla in Black, the painting features prominently in the background, framing Clotilde’s face. Sorolla’s time in Assisi refined his technical skills and deepened his fascination with the interplay of light, setting the foundation for his future artistic achievements.

For a PowerPoint Presentation of the artists oeuvre, please… Check HERE!

Bibliography: https://www.cultura.gob.es/dam/jcr:9fa09fae-ac06-454d-b8ad-8c904954f240/biografia-eng-origenes.pdf

House of the Large Fountain

House of the Large Fountain, 2nd century BC to 1st century AD, Pompeii (Regio VI   Insula 8.22), Italy
https://pompeiisites.org/en/comunicati/the-house-of-the-large-fountain-the-house-of-the-anchor-and-the-temple-of-isis-all-reopen-to-the-public/#&gid=1&pid=8

Pompeii is an ancient Roman city located near modern-day Naples, Italy, that was buried under volcanic ash and pumice after the eruption of Mount Vesuvius in AD 79. The eruption preserved much of the city in remarkable detail, offering a unique glimpse into Roman life. Excavations have revealed homes, streets, public baths, markets, and temples, as well as vibrant frescoes and mosaics. One of the notable residences is the House of the Large Fountain, famous for its elaborate garden fountain adorned with mosaics, showcasing the wealth and artistic tastes of its owners. Pompeii is renowned for its archaeological significance, as the site provides valuable insight into the daily routines, social structures, and art of Roman civilization over 2,000 years ago.

The House of the Large Fountain is one of Pompeii’s most distinctive and luxurious residences, celebrated for its remarkable garden and ornamental water features. Located on Via di Mercurio, the house’s layout dates back to the early 2nd century BC, though it underwent various modifications over time. Originally, the two atria were connected, but later alterations separated them, with the smaller atrium marked by six Doric columns. A portico supported by brick columns was added behind the tablinum, enhancing the house’s architectural complexity. In the final years before Pompeii’s destruction, the large fountain that gives the house its name was erected against the back wall of the small garden, set against a backdrop of vibrant mosaics and decorative stucco that showcases a sense of elegance and refinement.  https://pompeiisites.org/en/archaeological-site/house-of-the-large-fountain/

House of the Large Fountain, 2nd century BC to 1st century AD, Pompeii (Regio VI   Insula 8.22), Italy
https://www.planetpompeii.com/en/map/the-house-of-large-fountain/524-the-house-of-large-fountain.html

This Pompeiian example of domestic architecture is a stunning blend of artistry and antiquity, rooted in the elegance of the 2nd century BC. The fountain, the house’s most striking feature, dominates the garden space with its intricate design of wall mosaic and sculpture. In front of a colonnaded façade, the fountain consists of a niche which is completely covered with polychrome tesserae and embellished with two marble sculpture theatrical masks, a rare example of non-floor mosaic nympheum made of glass paste and stone. The mosaics, adorned with delicate seashells, and two marble theater masks, reflect the artistic tastes of the Roman aristocracy, offering a glimpse into the luxury and aesthetic values of the time. This lavish display of art and water highlights the owners’ wealth and status in Pompeian society.

The fountain’s centerpiece, a cylindrical base with a central hole, stood bare when first uncovered in the early 19th century. It wasn’t until the late 19th century that a bronze copy of a cherub riding a dolphin, originally discovered in the nearby House of the Arches, was placed at the fountain’s heart. This artistic choice mirrored the style of the House of the Small Fountain, where a similar cherubic figure with a goose serves as the focal point. The display we see today faithfully recreates this historical arrangement, echoing the fountain’s transformation and its lasting legacy over the centuries.

The fountain, positioned at the end of the garden, would have provided a soothing ambiance with its flowing water, contributing to the overall tranquility of the space, offering valuable insight into how water, art, and nature were integrated into daily life. This feature, combined with the house’s other luxuries, points to the social status of its owners, who likely used the space for both private leisure and hosting social gatherings.

House of the Large Fountain, 2nd century BC to 1st century AD, Pompeii (Regio VI   Insula 8.22), Italy
https://www.planetpompeii.com/en/map/the-house-of-large-fountain/524-the-house-of-large-fountain.html and Luigi Bazzani, Italian Artist, 1836–1927
A fountain in Pompeii (House of the Large Fountain, Pompeii), 1888, Watercolour on Paper, 46.35x 35.56 cm, Victoria and Albert Museum, London, UK https://collections.vam.ac.uk/item/O406355/painting-of-pompeii-drawing-luigi-bazzani/#object-details

Today, the house is a key example of Roman domestic art and garden design, offering valuable insight into how water, art, and nature were integrated into daily life. The lavish decorations and grand layout reflect the wealth and aspirations of the Pompeian elite, while the preservation of the site allows modern visitors to step into a world of ancient luxury. The House of the Large Fountain continues to fascinate both archaeologists and visitors for its artistic and architectural significance.

For a PowerPoint Presentation of the House of the Large Fountain in Pompeii, please… Click HERE!

Bibliography: https://collections.vam.ac.uk/search/?page=1&page_size=15&q=Luigi+Bazzani

Snow Scene at Argenteuil

Claude Monet, French Artist, 1840 – 1926
Snow Scene at Argenteuil, 1875, Oil on Canvas, 71.1 × 91.4 cm, the National Gallery, London, UK https://www.nationalgallery.org.uk/paintings/claude-monet-snow-scene-at-argenteuil

Thomas Hardy’s poem Snow in the Suburbs and Claude Monet’s painting Snow Scene at Argenteuil share a common theme of how snow transforms and softens everyday environments, imbuing them with a quiet beauty. Both works capture the stillness that snow brings, turning ordinary settings into places of reflection… Every branch big with it, / Bent every twig with it; / Every fork like a white web-foot; / Every street and pavement mute: / Some flakes have lost their way, and grope back upward when / Meeting those meandering down they turn and descend again. / The palings are glued together like a wall, / And there is no waft of wind with the fleecy fall.    /    A sparrow enters the tree, / Whereon immediately / A snow-lump thrice his own slight size / Descends on him and showers his head and eye / And overturns him, And near inurns him, / And lights on a nether twig, when its brush / Starts off a volley of other lodging lumps with a rush.    /    The steps are a blanched slope, / Up which, with feeble hope, / A black cat comes, wide-eyed and thin; / And we take him in. https://poets.org/poem/snow-suburbs

In Hardy’s poem, snow gently covers the suburb, altering the familiar landscape and quieting the usual hustle of the city. He writes about how snow touches everything from roofs to cats, creating a peaceful, almost tender transformation. Similarly, Monet’s painting depicts the serene beauty of snow-covered streets and houses in Argenteuil, where soft light and gentle textures evoke a calm and meditative atmosphere. The quiet streets and the snow-laden environment appear untouched, giving a sense of tranquility. Both works express the delicate, transformative effect of snow. Hardy’s use of precise, quiet imagery mirrors Monet’s soft brushstrokes, each turning a mundane urban scene into something ethereal and profound, highlighting the interplay between nature and human environments during winter.

Claude Monet, French Artist, 1840 – 1926
Snow Scene at Argenteuil (detail), 1875, Oil on Canvas, 71.1 × 91.4 cm, the National Gallery, London, UK https://www.nationalgallery.org.uk/paintings/claude-monet-snow-scene-at-argenteuil

Claude Monet lived in Argenteuil, a suburban town near Paris, from 1871 to 1878, a pivotal period in his artistic career. During these years, he fully embraced the Impressionist style, focusing on capturing the effects of light, colour, and atmosphere in outdoor settings. Argenteuil’s scenic landscapes, including the Seine River and its gardens, provided Monet with abundant inspiration. It was here that he painted some of his most famous works, including Snow Scene at Argenteuil and The Railway Bridge at Argenteuil, often depicting the natural beauty of the town with loose brushstrokes and vibrant colours. His home also became a gathering place for fellow Impressionists like Renoir and Manet, fostering the collaborative spirit that helped define the movement. Monet’s time in Argenteuil solidified his position as a leading figure in the development of Impressionism.

Monet painted several snow scenes during the winter of 1874-75 while living in Argenteuil, capturing the tranquil, muted beauty of the snow-covered suburban landscape. One of these canvases, showing the Boulevard Saint-Denis, depicts a quiet, snow-blanketed street near his home, with figures slowly making their way through the thick snow. The scene captures the foggy atmosphere of winter, where the distant buildings seem to fade into the mist, and the snowy road, marked by cart tracks, leads the viewer’s eye toward the horizon. Despite the serene and picturesque view, Monet subtly conveys the modernity of Argenteuil, a developing suburb of Paris, with newly built houses lining the boulevard, blending the timeless beauty of nature with the progression of urban life. These snow scenes reflect Monet’s mastery in depicting light and atmosphere, transforming a modern setting into a peaceful, almost dreamlike winter landscape.

For a Student Activity inspired by Claude Monet’s painting Snow Scene at Argenteuil, please… Check HERE!

Pumpkins

Yayoi Kusama, Japanese Artist, b. 1929
Pumpkins, 1987, acrylic on canvas, 38.1 x 45.4 cm, Private Collection https://www.christies.com/lot/lot-6337416?ldp_breadcrumb=back&intObjectID=6337416&from=salessummary&lid=1

Yayoi Kusama’s iconic Pumpkins, covered in her signature polka dots, offers a fascinating way to reflect on Thanksgiving’s themes of abundance, connection, and gratitude. Kusama’s philosophy, as expressed in her quote … With just one polka dot, nothing can be achieved. In the universe, there is the sun, the moon, the earth, and hundreds of millions of stars. All of us live in the unfathomable mystery and infinitude of the universe. Pursuing ‘philosophy of the universe’ through art under such circumstances has led me to what I call ‘stereotypical repetition.’ … perfectly mirrors the communal spirit of the holiday. Just as the individual polka dots in her work only achieve meaning as part of a larger pattern, Thanksgiving reminds us that our lives gain richness through the connections we share with others. The pumpkin, a symbol of harvest and gratitude, becomes, in Kusama’s hands, a meditation on infinity and cosmic unity, making her painting an artistic embodiment of Thanksgiving’s deeper significance. https://www.brainyquote.com/quotes/yayoi_kusama_624395

Yayoi Kusama is a world-renowned Japanese contemporary artist known for her distinctive use of polka dots, repetitive patterns, and immersive installations. Born on March 22, 1929, in Matsumoto, Japan, Kusama displayed an interest in art from a young age. Her work spans various mediums, including painting, sculpture, performance, and installation art. Kusama studied Nihonga, a traditional style of Japanese painting, but soon grew disillusioned with its limitations. In the 1950s, she moved to New York, where she became associated with the avant-garde art scene, often engaging with Pop Art, Minimalism, and Abstract Expressionism. During this period, she produced her signature “Infinity Net” paintings, featuring seemingly endless networks of small, looped brushstrokes, which began to earn her international recognition.

Mental health struggles, particularly hallucinations and obsessive thoughts, have deeply influenced Kusama’s work throughout her career. She voluntarily admitted herself to a psychiatric hospital in Tokyo in the 1970s and has lived there ever since, continuing to produce art from a nearby studio. Kusama’s installations, such as her famous Infinity Mirror Rooms, immerse viewers in vast, reflective spaces that play with perceptions of infinity. Her bold use of colour, patterns, and immersive experiences has made her one of the most recognizable and celebrated artists of the 20th and 21st centuries. Kusama has also explored literature, writing several novels and poems. Today, her work continues to be exhibited globally, inspiring audiences with its blend of beauty, surrealism, and psychological depth.

Yayoi Kusama’s motif of ‘Pumpkins’ is her most iconic, representing both personal and universal symbolism. Kusama has been fascinated with pumpkins since childhood, associating them with comfort and stability. The pumpkin, with its organic, bulbous form and vibrant color, mirrors her characteristic use of repetitive patterns and polka dots, evoking a sense of playful whimsy while also confronting themes of obsession and infinity. She often depicts pumpkins in large-scale sculptures, paintings, and installations, where their surfaces are covered with polka dots, creating a visual interplay between form and texture. For Kusama, pumpkins embody a juxtaposition of simplicity and surrealism, offering a connection to nature and a grounding presence amidst the infinite and the abstract.

Yayoi Kusama’s 1987 painting Pumpkins, sold at Christie’s, is a vibrant work that captures her signature motif of pumpkins alongside her infinity nets and polka dots. The composition features two undulating pumpkins against a pink and white net background, combining figuration with abstraction. The pumpkins are rendered in her distinctive yellow polka-dotted style, creating a sense of dynamic movement. This work is a classic example of Kusama’s exploration of obsession and repetition, while also conveying her deep personal connection to the motif, symbolizing comfort and joy. https://www.christies.com/lot/lot-6337416?ldp_breadcrumb=back&intObjectID=6337416&from=salessummary&lid=1

When things go wrong, it helps to remember all the good things in the world… Warmest Thanksgiving greetings to you and your family

For a Student Activity for Kindergarten, please… Check HERE!

Martin Johnson Heade’s Hummingbirds

Martin Johnson Heade, American Artist, 1819-1904
Cattleya Orchid with Two Brazilian Hummingbirds, 1871, Oil on Panel, 34.9 x 45.7 cm, Private Collection https://www.christies.com/lot/lot-6465936?ldp_breadcrumb=back&intObjectID=6465936&from=salessummary&lid=1

Why do you stand on the air / And no sun shining? / How can you hold yourself so still / On raindrops sliding? / They change and fall, they are not steady, / But you do not know they are gone. / Is there a silver wire / I cannot see? / Is the wind your perch? / Raindrops slide down your little shoulders . . . / They do not wet you: / I think you are not real / In your green feathers! / You are not a humming-bird at all / Standing on air above the garden! / I dreamed you the way I dream fairies, / Or the flower I lost yesterday!… wrote American Poet Hilda Conkling, and I think of Martin Johnson Heade’s Hummingbirds! https://discoverpoetry.com/poems/hummingbird-poems/

Martin Johnson Heade is a 19th century American painter. Though initially not as celebrated as his contemporaries in the Hudson River School, Heade eventually gained recognition for his unique approach to landscape and still life painting. Unlike many of his peers who focused on the grandeur of American landscapes, Heade turned his attention to more intimate scenes, combining elements of nature with a profound interest in light and atmospheric effects. His career spanned over five decades, during which he traveled extensively across the United States, Latin America, and the Caribbean. These travels greatly influenced his artistic focus and the subjects of his work, particularly his fascination with Hummingbirds and tropical scenes.

The artist’s painting Cattleya Orchid and Two Hummingbirds is a striking example of his intricate and lush compositions, blending the precision of natural history illustration with the depth and emotion of high art. This work, part of his larger series on Hummingbirds, showcases Heade’s fascination with the exotic and his ability to render nature with an almost surreal clarity. The painting features a large, blooming Cattleya Orchid, its vibrant pink and purple hues standing in contrast to the deep greens of the tropical background. This choice of flower, known for its large, showy blooms and rich colours, allows Heade to explore the theme of exotic beauty, while also demonstrating his skill in capturing the delicate textures of petals and leaves.

The two Hummingbirds, to the right of the Orchid, are depicted with exquisite detail, their iridescent feathers glinting against the darker backdrop. This dynamism and the vivid contrast between the birds and their environment highlight Heade’s interest in the interplay of light and colour, as well as his ability to capture the fleeting moments of natural beauty. Heade illuminates the Orchid and the two Hummingbirds with a soft, almost ethereal light, emphasizing their delicate beauty and the magical quality of the scene. This lighting technique, combined with the precise rendering of subjects and the atmospheric depth of the background, creates a sense of immediacy and intimacy, drawing the viewer into a moment of quiet yet profound connection with the natural world.

Moreover, the composition of Cattleya Orchid and Two Hummingbirds reflects a deliberate balance between realism and romanticism, characteristic of Heade’s work. Meticulous attention to biological detail serves not only to celebrate the diversity and intricacy of nature but also to invoke a deeper sense of wonder and transcendence. This painting, therefore, stands as a testament to Heade’s artistic achievements, showcasing his unique ability to fuse scientific observation with a deeply felt aesthetic sensibility, offering viewers not just a depiction of nature, but an invitation to engage with its underlying mystery and beauty.

Martin Johnson Heade’s artistic achievements lie in his distinctive approach to painting, which merged elements of the Hudson River School with a keen observation of nature, light, and atmosphere. Heade’s contributions to art extend beyond his Hummingbird series. He is also celebrated for his magnificent landscapes and seascapes, as well as his stunning still lifes of flowers, particularly magnolias set against velvety backgrounds. Despite his late recognition, today Heade is acknowledged as a pivotal figure in American art, his work revered for its unique blend of realism, romanticism, and transcendentalist philosophy.

For a PowerPoint, titled Martin Johnson Heade, 10 Paintings, please… Check HERE!

Bibliography: https://www.christies.com/lot/lot-6465936?ldp_breadcrumb=back&intObjectID=6465936&from=salessummary&lid=1 and https://www.nga.gov/content/dam/ngaweb/Education/learning-resources/an-eye-for-art/AnEyeforArt-MartinJohnsonHeadeJohnJamesAudubon.pdf and https://www.aaa.si.edu/blog/2020/10/conversations-across-collections-martin-johnson-heades-notebook-on-hummingbirds

The Virgin with the Pomegranate

Fra Angelico (Guido di Piero di Gino), 1395-1455
The Virgin with the Pomegranate, ca. 1426, Tempera on Panel, 87×59 cm, Prado Museum, Madrid, Spain https://www.museodelprado.es/en/the-collection/art-work/the-virgin-with-the-pomegranate/61b654df-1de2-483f-88bb-404f37747d4a?searchid=55f3ec41-7c92-bebf-e83c-b0e5c7f74a9f

Fra Giovanni Angelico of Fiesole, known in the world as Guido, was no less excellent as a painter and illuminator than as a monk of the highest character, and in both capacities, he deserves to be most honourably remembered. Although he might easily have led a secular life and gained what he liked at art beyond what he possessed, for he showed great skill while still quite young, yet being naturally quiet and modest, he entered the order of Friars Preachers 1 chiefly for the sake of his soul and for his peace of mind… As I ponder Giorgio Vasari’s words about this serene soul, my mind drifts to his masterpiece, The Virgin with the Pomegranate, housed in the Prado Museum. The painting radiates the same tranquility and depth of faith that guided Fra Angelico’s life, its vibrant yet tender hues evoking a sacred moment of grace. https://www.artist-biography.info/artist/fra_giovanni_angelico/ Giorgio Vasari, Lives of the Most Excellent Painters, Sculptors, and Architects, first published in 1550 and dedicated to Grand Duke Cosimo I de’ Medici

Fra Angelico, born Guido di Pietro around 1395 near Fiesole in Tuscany, was a prominent early Renaissance painter known for his deep spirituality and serene artistic vision. He initially trained as a manuscript illuminator before entering the Dominican Order of Friars Preachers in Fiesole, taking the name Fra Giovanni. His religious commitment deeply influenced his work, and he spent much of his career painting frescoes for monasteries and churches, including the renowned frescoes at the Convent of San Marco in Florence. Fra Angelico’s reputation as both a devout monk and a master painter earned him admiration across Italy, and in 1982, he was beatified by Pope John Paul II for the holiness reflected in his art. His works, characterized by their radiant colour and graceful compositions, brought the spiritual themes of the Christian faith to life with a profound sense of reverence.

Aesthetic values were central to Fra Angelico’s approach, reflecting his deep religious conviction and his desire to evoke the divine. He believed that art was a form of prayer and aimed to create works that inspired contemplation and devotion. His use of light and colour was symbolic, often representing the heavenly and the sacred, with soft, luminous tones that infused his figures with an ethereal quality. Fra Angelico’s compositions, whether in fresco or panel painting, emphasized harmony, balance, and simplicity, reflecting the spiritual ideals of humility and grace. His figures, especially his depictions of the Virgin Mary and angels, are known for their gentle, serene expressions, which convey a sense of inner peace. Through his artistic choices, Fra Angelico sought not only to beautify religious spaces but also to uplift the soul, making the divine more accessible to the viewer.

Fra Angelico (Guido di Piero di Gino), 1395-1455
The Virgin with the Pomegranate (detail), ca. 1426, Tempera on Panel, 87×59 cm, Prado Museum, Madrid, Spain
https://arthive.com/artists/2681~Fra_Beato_Angelico/works/566563~Madonna_with_pomegranate_Fragment_Mary_and_the_Angels

The Virgin of the Pomegranate is a masterpiece painted by Fra Angelico during a pivotal moment in the early 15th-century Florentine Renaissance. This work is a stunning example of the spiritual and artistic transformation taking place during the Quattrocento period. The painting stands out not only for its delicate beauty and religious significance but also for its rarity—being one of the few masterpieces of its era that was up until 2016, still in private hands. As Italian Renaissance art began to capture the attention of collectors and critics in the 19th century, most works by figures like Fra Angelico, Masaccio, and Masolino became housed in major European and American museums, making The Virgin of the Pomegranate even more exceptional. The Prado Museum acquired the painting in 2016 for 18 million Euros. The purchase was made possible through contributions from the Spanish state, the Fundación Amigos del Museo del Prado, and from the museum’s own funds.

Alongside this purchase, the Duke of Alba donated another Fra Angelico work, The Funeral of Saint Anthony Abbot, further enriching the museum’s collection of early Florentine art so that… all Spaniards and art lovers from every part of the world who visit the Prado and admire this most important Museum will have a better understanding of the master’s artistic achievements. http://www.alaintruong.com/archives/2016/01/26/33272102.html

Fra Angelico (Guido di Piero di Gino), 1395-1455
The Funeral of Saint Anthony Abbot, 1426 – 1430, Tempera on Poplar panel, 19.7×29.3cm, Prado Museum, Madrid, Spain https://www.museodelprado.es/en/the-collection/art-work/the-funeral-of-saint-anthony-abbot/1af1dc35-845c-43d3-b701-f5f9747e3113

Both paintings showcase Angelico’s mastery of delicate lines, soft color palettes, and ethereal figures. The Virgin’s serene expression, in particular, and the tender interaction with the child reflect a deep sense of spiritual devotion. The gold background creates a divine atmosphere, evoking the sacredness of the scene. Fra Angelico’s balanced composition and attention to detail enhance both paintings’ meditative and contemplative quality.

For a PowerPoint Presentation titled 10 Masterpieces by Fra Angelico, please… Check HERE!

For an interesting Video on Fra Angelico’s painting The Virgin with the Pomegranate, please Check…https://www.museodelprado.es/en/whats-on/multimedia/the-virgin-of-the-pomegranate-and-the-funeral-of/60b91c7a-86e2-47c7-8323-3341d196d7d6

Head of Nemesis

Head of Nemesis, the personification of attribution of Justice, 2nd century AD, Marble, Museum of Ancient Agora, Athens, Greece – Photo Credit: Amalia Spiliakou, February 18, 2024, ‘Meanings’. Personifications and Allegories from Antiquity to Today Exhibition, Acropolis Museum, Athens, Greece

Of Nemesis we sing, undying goddess, stern Victory with spreading wings, infallible, seated by the throne of Justice; of thee that resentest man’s arrogance and sweepest it down to Tartarus… wrote Mesomedes of Crete, the Greek lyric poet and musician of the 2nd century AD, who served at the court of Emperor Hadrian. Standing before the Head of Nemesis from the Museum of ancient Agora in Athens I can almost feel the weight of divine retribution she carries, much like in Mesomedes’ Hymn to Nemesis, where she is invoked as the ever-watchful enforcer of balance, striking down human arrogance. https://laudatortemporisacti.blogspot.com/2008/07/mesomedes-hymn-to-nemesis.html

Goddess Nemesis in ancient Greek mythology was the personification of divine retribution and justice, often associated with the punishment of hubris (excessive pride or arrogance, in Greek Ύβρις). She was believed to maintain balance by ensuring that no individual, mortal or divine, grew too proud or overstepped moral boundaries. Nemesis was depicted as a stern and impartial force who imposed punishment on those who defied the natural order, often by bringing misfortune to those who had gained undeserved success or wealth.

Nemesis was traditionally viewed as a daughter of Nyx (Night), though her parentage varies in different accounts. She was also sometimes seen as an agent of fate, aligning her with themes of destiny and the unavoidable consequences of one’s actions. The goddess was often portrayed as a winged figure holding a sword, scales, or a wheel, symbolizing the cyclical nature of fortune and justice. https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0130%3Acard%3D207

Worship of Nemesis was widespread, and she had a notable cult center at Rhamnous in Attica, where she was honored as a protector of justice. The temple at Rhamnous housed a large statue of the goddess, created by the sculptor Agorakritos, a student of Phidias, and was considered one of the finest representations of the goddess. Located near the fortress of Rhamnous, the temple symbolized her role as a guardian of law and order, watching over the region and its people, ensuring that justice was upheld in both mortal and divine realms.

Roman Copy of the statue of Nemesis of Agorakritos in the Ny Carisberg Glyptothek, Copenhagen https://www.worldtravelimages.net/Copenhagen_Glyptotek.php
Agorakritos of Paros, 5th century BC
Head of Nemesis, the personification of attribution of Justice, 430-420 BC, Marble, Height: 41.91 cm, British Museum, London, UK https://www.britishmuseum.org/collection/object/G_1820-0513-2
Head of Nemesis, the personification of attribution of Justice, 2nd century AD, Marble, Museum of Ancient Agora, Athens, Greece – Photo Credit: Amalia Spiliakou, February 18, 2024, ‘Meanings’. Personifications and Allegories from Antiquity to Today Exhibition, Acropolis Museum, Athens, Greece

The Statue of Nemesis by Agorakritos, a celebrated pupil of the renowned sculptor Phidias, was a masterpiece of classical Greek art housed in the temple of Rhamnous in Attica. Crafted in the 5th century BC, this statue depicted Nemesis as a stern, majestic figure embodying divine retribution and justice. Made from Parian marble, the statue was renowned for its exquisite detail and symbolic attributes, including a wreath, rein, and a branch, symbolizing punishment, control, and the restoration of balance.

After three years of meticulous research, Professor of Archaeology at Thessaloniki University, George Despinis, has made a significant breakthrough by assembling around 340 fragments of the Nemesis statue, supplementing the previously known head fragment held at the British Museum. While about one-fifth of the statue has been recovered, Despinis’ work goes beyond merely reconstructing this admired masterpiece. His analysis of the fragments has, for the first time, precisely revealed the unique style of Agorakritos, allowing him to identify parts of the Parthenon pediments and friezes created under the direction of Pheidias. https://www.penn.museum/sites/expedition/nemesis/

According to Pausanias and other sources, the Nemesis statue originated from a large marble slab that Datis, the Persian general under Darius, intended to use for a victory monument after defeating the Athenians during his campaign. However, following the Persian defeat at the Battle of Marathon, the Athenians discovered the massive slab abandoned on the battlefield. Based on Professor George Despinis’ calculations, the stone must have been nearly half the height of a Stonehenge monolith. Though the exact method of transporting the stone from Marathon to the Rhamnous sanctuary remains a mystery, it is widely believed that Agorakritos, a pupil of Pheidias, sculpted the statue, completing it by the onset of the Peloponnesian War, with its intricate pedestal and frieze finalized during the Peace of Nikias. https://www.the-athenian.com/site/1989/04/01/the-temples-of-rhamnous/

On February 17, 2024, during my visit to Athens, Greece, I had the pleasure of attending the exceptional exhibition titled ‘NοΗΜΑΤΑ’: Personifications and Allegories from Antiquity to Today, held at the Acropolis Museum. Curated by Professor Nikolaos Chr. Stampolidis and his associates, this exhibition formed a unique Tetralogy, wherein the Greek word ‘ΝΟΗΜΑ’ (‘Meaning’ in English) metaphorically transformed into ‘ΝΗΜΑ’ (‘Thread’), weaving together diverse artworks including statues, reliefs, vases, coins, jewelry, Byzantine icons, and paintings. Among the exhibition artworks that impressed me most was the 2nd-century AD marble Head of Nemesis, the personification of justice, displayed, currently, at the Museum of Ancient Agora in Athens, Greece. According to museum experts, this Head is one of many Roman copies of the original 5th-century statue by Agorakritos from Rhamnous, whose masterful work combined idealized beauty with the imposing presence of a goddess who embodied the consequences of human arrogance and excess.

For a Student Activity, please… Check HERE!

Félix Ziem’s painting of Constantinople

Félix Ziem, French Artist, 1821-1911
Constantinople, 1857-58, Oil on Canvas, 58 x 93.4 cm, Private Collection
https://www.christies.com/en/private-sales/privateitems/private-item-SN00656940-001

…Once out of nature I shall never take / My bodily form from any natural thing, / But such a form as Grecian goldsmiths make / Of hammered gold and gold enamelling / To keep a drowsy Emperor awake; / Or set upon a golden bough to sing / To lords and ladies of Byzantium / Of what is past, or passing, or to come. The closing lines of W. B. Yeats’s poem Sailing to Byzantium, and Félix Ziem’s painting of Constantinople both engage with the East as an idealized realm of transcendence and beauty, albeit in different artistic forms. Yeats’ Byzantium is a symbolic place of spiritual and artistic immortality, where the soul escapes the physical decay of old age and achieves eternal wisdom. In a parallel way, Ziem’s depiction of Constantinople offers a romanticized vision of the East, reflecting the 19th-century Orientalist fascination with the exotic and timeless aspects of the Orient. Both works use their respective mediums to transport the audience to an imagined, heightened version of the East.

The Orientalist connection between these works lies in their idealization of the East as a space of otherness, mystery, and eternal allure. While Yeats uses Byzantium as a metaphor for personal and artistic transcendence, Ziem’s Constantinople fits into the broader Orientalist tradition of presenting the East as a visually stunning and dreamlike world. Both artists, in their ways, construct the East as a place removed from mundane reality, where beauty and spiritual richness abound. Their works capture the Western artistic fascination with the Orient as a realm of wonder and aesthetic fulfilment.

Félix Ziem (1821–1911) was a French painter known for his vivid, atmospheric landscapes and maritime scenes, often depicting exotic locales. Born in Beaune, France, Ziem initially studied architecture before turning to painting, a transition that shaped his skilful rendering of urban spaces and architectural details in his artwork. He became associated with the Barbizon School, a movement that focused on naturalistic depictions of rural life. Still, Ziem’s works often took a different path, leaning toward the fantastical and picturesque. His fascination with travel and the allure of distant places led him to explore Venice, the Mediterranean, and especially the Ottoman Empire, particularly Constantinople (modern-day Istanbul). These experiences fueled his work, making him a significant figure in the Orientalist movement, which romanticized and idealized the East in Western art.

Ziem’s mastery of light and colour, combined with his ability to evoke the grandeur and mystique of foreign landscapes, earned him widespread acclaim during his lifetime. He exhibited frequently at the Paris Salon and achieved considerable financial success, an unusual feat for a 19th-century artist. Ziem was admired for his skill in capturing the shimmering waters and golden light of the Mediterranean, particularly in his Venetian and Constantinople scenes, which remain some of his most famous works. His love for travel and exploration is reflected in the dreamlike quality of his paintings, which often blur the line between reality and romantic fantasy. In 1908, he was awarded the prestigious honour of being inducted into the French Academy of Fine Arts.

Félix Ziem’s painting Constantinople captures the vibrancy and grandeur of the Ottoman capital through a masterful blend of light, colour, and architectural detail. The painting offers a panoramic view of the city’s waterfront, where the sparkling waters of the Golden Horn meet the bustling harbour, and boats glide gracefully along. Dominating the skyline is the majestic silhouette of domes and minarets, including the iconic Hagia Sophia, bathed in the warm, golden glow of the setting sun. Ziem’s brushwork evokes the atmosphere of a city alive with activity and culture, yet shrouded in a dreamlike haze that enhances its exotic appeal. The luminous sky and shimmering reflections on the water create a sense of serenity and timelessness, presenting Constantinople not just as a geographical location but as a symbol of the alluring, mystical East. Ziem’s portrayal invites the viewer into a romanticized vision of the city, where everyday life blends with the grandeur of empire and the beauty of the natural world.

For a PowerPoint Presentation of Félix Ziem’s oeuvre, please… Check HERE!

Bibliography: https://www.christies.com/en/private-sales/privateitems/private-item-SN00656940-001

Pair of Byzantine Gold Perikarpia from Thessaloniki

Pair of Wristbands with Birds and Palmettes, made in Constantinople, 800s–900s. Gold with granulated decoration and enamel, Height 7 cm and Diameter 8.6×6.6 cm, Museum of Byzantine Culture, Thessaloniki, Greece
http://vizantinaistorika.blogspot.com/2014/03/blog-post_19.html

In Byzantine culture, bejewelled perikarpia (wristbands) played a dual role, both as functional accessories and symbols of status and protection. They were often worn by emperors, officials, and high-ranking clergy, and were intricately designed with luxurious materials such as precious metals, silk, gold thread, and precious stones. Their aesthetic value lay in the detailed craftsmanship, often reflecting religious and imperial motifs, serving as a visual display of wealth, piety, and power. Additionally, the ornate patterns and vibrant colours used in perikarpia added to the elegance of Byzantine attire, contributing to the overall grandeur of the empire’s visual culture. Today we will focus on a Pair of Byzantine Gold Perikarpia from Thessaloniki that exhibits exceptional beauty!

By asking questions starting with ‘who,’ ‘why,’ ‘when,’ and ‘where’ about the Byzantine Perikarpia from Thessaloniki at the city’s Museum of Byzantine Culture, we can explore the artworks’ historical context, artistic significance, and the story behind their creation.

Where exactly were the perikarpia found, and what does this location tell us about their significance? The perikarpia were discovered under Dodecanesou Street in Thessaloniki, buried about three feet underground. This area was once a busy urban center in Byzantine times, indicating that the wristbands may have belonged to a wealthy or high-status individual living in the city. The location suggests a strong connection to Thessaloniki’s past as a significant cultural and economic hub of the Byzantine Empire. The hiding of these treasure points to periods of conflict and invasion, particularly during the Saracen attack on the city in 904.

When were they crafted, and how does this fit into Byzantine history? The Byzantine perikarpia were likely crafted during the height of the Byzantine Empire, possibly between the 9th and 10th centuries, based on their artistic style and the period of the Saracen attack on Thessaloniki in 904. This timeframe fits into a period of Byzantine wealth, artistic flourishing, and political challenges, marked by external threats and invasions. The use of gold and enamel on these wristbands reflects the luxurious craftsmanship typical of the empire’s elite, illustrating the fusion of religious symbolism and imperial power in Byzantine art.

Who might have owned or worn these wristbands, and what social or religious role did they play? The perikarpia were likely owned by a wealthy individual or someone of high status, possibly an aristocrat or merchant in Thessaloniki. Given their luxurious design and use of precious materials like gold and enamel, they may have also been worn by someone with religious or imperial connections. In Byzantine society, such items were not only decorative but also served as symbols of wealth, piety, and social rank, possibly even offering spiritual protection. Their burial suggests the owner sought to protect valuable possessions during times of conflict or instability.

Why were they buried twice, and what does their discovery reveal about the history of Thessaloniki during these periods? The perikarpia were buried twice—first during the Saracen attack on Thessaloniki in 904 to protect them from being looted, and then later, possibly in the 1600s, by a wealthy merchant. The double burial reflects the repeated cycles of instability in Thessaloniki’s history, as it faced invasions and upheavals over centuries. Their discovery highlights the city’s historical significance as a center of wealth, commerce, and strategic importance, while also showcasing the lengths individuals went to safeguard valuable possessions during turbulent times.

For a PowerPoint on Byzantine Perikarpia, pleaseCheck HERE!

Bibliography: https://media.ems.gr/ekdoseis/makedonika/makedonika_07/ekd_pemk_07_petsas_2.pdf https://ejournals.epublishing.ekt.gr/index.php/deltion/article/view/4427/4203 σελ 59 Στυλιανός Πελεκανίδης, Τα χρυσά βυζαντινά νομίσματα της Θεσσαλονίκης, Δελτίον XAE 1 (1959), Περίοδος Δ’. Στη μνήμη του ΝίκουΒέη (1883-1958), ΑΘΗΝΑ  1960, Σελ. 55-71, https://www.mbp.gr/sites/default/files/styles/object_images/public/4mikrotexnia.jpg?itok=9xIJgEtP, Dr. Alicia Walker, “Wearable art in Byzantium,” in Smarthistory, July 30, 2021, accessed September 12, 2024, https://smarthistory.org/wearable-art-byzantium/ and https://blogs.getty.edu/iris/uncovering-the-history-of-a-long-buried-byzantine-treasure/

Grandma Moses’ The Old Oaken Bucket in 1800

Anna Mary Robertson ‘Grandma’ Moses, American Artist, 1860-1961
The Old Oaken Bucket in 1800, 1943, Oil on Masonite, 61 x 71.1 cm, Private Collection https://www.christies.com/en/lot/lot-6286877

A fitting poem to complement Grandma Moses’ The Old Oaken Bucket in 1800 would be The Old Oaken Bucket by Samuel Woodworth. Written in 1817, this famous poem captures a deep nostalgia for the past and rural simplicity, much like Moses’ painting… How dear to this heart are the scenes of my childhood, / When fond recollection presents them to view! / The orchard, the meadow, the deep-tangled wildwood, / And every loved spot which my infancy knew. / The wide-spreading pond, and the mill that stood by it, / The bridge, and the rock where the cataract fell; / The cot of my father, the dairy-house nigh it, / And e’en the rude bucket which hung in the well— / The old oaken bucket, the iron-bound bucket, / The moss-covered bucket, which hung in the well. This artwork, painted on November 1, 1943, with its focus on cherished memories of rural life, welcomes November with gusto! https://digitalcommons.conncoll.edu/sheetmusic/1149/

Anna Mary Robertson Moses, known affectionately as ‘Grandma Moses,’ was an iconic American folk artist who was celebrated for her charming depictions of rural life. Born on September 7, 1860, in Greenwich, New York, Moses lived a humble life, spending much of her early years working on farms and tending to household duties. She did not begin painting until her late 70s after arthritis made it difficult for her to continue with her embroidery hobby. Her artistic journey began as a pastime but quickly evolved into a remarkable second career that brought her widespread acclaim. Despite having no formal art training, her work resonated with both art critics and the general public, capturing a sense of nostalgia for a simpler, agrarian America.

Grandma Moses’ art is characterized by its naïve style, where traditional perspective and proportion are often disregarded in favour of narrative and emotional impact. Her paintings typically depict scenes of everyday rural life, from seasonal activities like harvesting and sleigh rides to community gatherings and holiday festivities. The vibrancy of her colour palette, combined with her attention to detail in illustrating nature and people, gives her works a sense of warmth and accessibility. These qualities resonated deeply with viewers, especially during the post-World War II era when her idyllic portrayals of country life evoked a longing for peace and simplicity.

The artist’s painting The Old Oaken Bucket in 1800 captures a nostalgic and idyllic scene of rural life, reflecting the simplicity and charm of 19th-century American farm life. The painting, like many of Moses’ works, features a detailed landscape, with rolling green hills, farmhouses, and trees surrounding a central focal point: a small, rustic well with an old oaken bucket. The scene is alive with activity, showing farmers tending to animals, children playing, and people engaging in daily chores, all set against the backdrop of a bright, clear sky. Moses uses vivid, cheerful colours, particularly greens and browns, which give the landscape a lively yet peaceful feeling. Her emphasis on nature and human interaction speaks to the harmonious relationship between people and their environment.

What stands out in The Old Oaken Bucket in 1800 is Moses’ ability to evoke a deep sense of nostalgia through her simple, folk-art style. The painting doesn’t follow the rules of traditional perspective but instead offers a flattened, almost decorative approach to composition. Despite this, there is a strong narrative element to the work, as it invites viewers into the everyday lives of rural inhabitants. The painting’s central motif, the old oaken bucket, symbolizes a connection to the past and to simpler times, suggesting the importance of tradition and memory. Through this piece, Moses communicates a longing for the past and the enduring beauty of rural, community-centered life.

For a PowerPoint Presentation inspired by Grandma Moses’ The Old Oaken Bucket in 1800, please… Check HERE!

Bibliography: https://www.christies.com/en/lot/lot-6286877 and https://americanart.si.edu/artist/grandma-moses-5826 and https://benningtonmuseum.org/portfolio-items/grandma-moses/