Portrait Medallion of Gennadios

Will we meet again? He is waiting in the Metropolitan Museum of Art in New York… musically accomplished, all ‘chiseled’ up… and I have to face COVID traveling restrictions, a long trip, and a rather bad knee… He is Gennadios, a young man from Alexandria whose portrait is simply fabulous… one of my favourite works of Art in the world! Our story goes back to 1977 when, as a University student I visited, for the first time ever New York City, I marveled at the ‘Age of Spirituality’ Exhibition, and I set my amazed eyes on his Portrait Medallion…the rest is part of my life story. Ever since, and every time I visit New York I simply have to see him… These days, the Portrait Medallion of Gennadios, a fine example of Alexandrian ‘Good Life,’ welcomes MetropolitanMuseum visitors to ‘The Good Life: Collecting Late Antique Art at The Met’ Exhibition (May 24, 2021–May 7, 2023)… It’s an invitation I somehow have to meet… https://www.metmuseum.org/exhibitions/listings/2021/good-life-collecting-late-antique-art

Introducing Gennadios, the Metropolitan Museum site reads: This exquisitely vivid image of an educated youth of the powerful port city of Alexandria probably celebrates his success in a musical contest. The medallion worked in gold on dark blue glass, was made to be mounted and worn as a pendant. There is so much more to Gennadios’s story… https://www.metmuseum.org/art/collection/search/466645?searchField=All&sortBy=Relevance&high=on&ao=on&showOnly=openAccess&ft=*&offset=480&rpp=80&pos=510

The Metropolitan MuseumPortrait Medallion, thanks to the inscription, and its grammatical variants, ΓΕΝΝΑΔΙ  ΧΡΩΜΑΤΙ  ΠΑΜΜΟΥCΙ, introduces us to an upper-class young man from Alexandria named Gennadios, a young man most accomplished in the musical art. This portrait served as an exceptional piece of Jewelry, a disk to be framed as a pendant… proudly worn by Gennadios… in the aftermath of a victorious musical competition, one may wonder. Age of Spirituality – Weitzmann, Kurt, ed. (1979), page 287 https://www.metmuseum.org/art/metpublications/Age_of_Spirituality_Late_Antique_and_Early_Christian_Art_Third_to_Seventh_Century

Portrait Medallion of Gennadios (detail), 250–300 AD, made in Alexandria, Egypt. Gold Glass, D. 4.2 cm, the MET, NY, USA
https://twitter.com/rubsmontoya/status/1224314731885998080

Worked in gold on sapphire-blue glass… to be specific, the drawing of Gennadios’s face was scratched with a fine point on gold leaf applied to the surface of a thin layer of glass… the Metropolitan Museum Medallion is a masterpiece of portraiture on a small scale. There is a group of similar jewel-like glass medallion portraits exhibited in museums around the world, but none is so exquisitely engraved. Scholars believe a lot of these Medallions come from Alexandria where a tradition in gold glass portraiture, like that of Gennadios’s, was active and popular. The Metropolitan Museum of Art Bulletin, Autumn 1977, page 46 file:///C:/Users/aspil/Downloads/The_Late_Roman_World_The_Metropolitan_Museum_of_Art_Bulletin_v_35_no_2_Fall_1977.pdf

The Gold Glass technique was particularly popular throughout the Roman Empire during the 4th century AD. Images in this technique were etched in gold leaf and then, the leaf was fused between two layers of glass… like a sandwich! Items of Gold Glass were usually created into circular bottoms of luxurious drinking vessels since the Hellenistic period. A popular practice for the Romans of the later period was to cut out the Gold Glass decorated roundel of a cup and cement it to the wall of a catacomb Grave to serve as a grave marker for the small recesses where bodies were buried. In Rome, where this practice was particularly popular, archaeologists discovered over 500 pieces of Gold Glass used in this way. Decoration themes for Gold Glass items vary from pagan mythology and portraits to purely Jewish or Christian imagery. Chapter 13 Making Late Antique Gold Glass by Daniel Thomas Howells, pp.112-120 https://webarchive.nationalarchives.gov.uk/20190801105206/https://www.britishmuseum.org/research/publications/research_publications_series.aspx#AllResearchPublications

Here is a wonderful Video on the Gold Glass making technique by the Corning Museum of Glass https://www.youtube.com/watch?v=ALNMn6DGQJg

I greatly enjoyed reading: The Ficoroni Medallion and Some Other Gilded Glasses in the Metropolitan Museum of Art by Joseph Breck, The Art Bulletin, Vol. 9, No. 4 (Jun. 1927), pp. 352-356 (5 pages) https://www.jstor.org/stable/3046553?read-now=1&refreqid=excelsior%3Ae1a77ea3960c80fa8029287c7789e3cd&seq=5#page_scan_tab_contents and Portraits, Pontiffs and the Christianization of Fourth-Century Rome by Lucy Grig, Papers of the British School at Rome, Vol. 72 (2004), pp. 203-230 (28 pages) https://www.jstor.org/stable/40311081?seq=1#metadata_info_tab_contents

For a PowerPoint on Gold Glass Portrait Medallions, please… Check HERE!

The Labours of the Months: September

By an unknown Venetian artist…
The Labours of the Months: September, about 1580, oil on canvas, 13.6 x 10.6 cm, National Gallery, London
https://www.nationalgallery.org.uk/paintings/italian-venetian-the-labours-of-the-months-january#painting-group-info

Another smell of autumn / sweet sweet smell / of Concord grapes / warming ripening/ ready to burst with flavor / strong urgent smell / lured me closer/ spreading outward /from the makeshift arbor / a plume twenty feet wide / enticing, coaxing / me to linger /luxuriate in its aroma smile at the memory / of other pickings / long ago / Sweet fruit / high above me, / out of reach up in the canopy / formed by wire and bush… lovely and short, by Raymond Foss, a lawyer from New Hampshire who writes poetry in his spare time… a wonderful introduction for my new BLOG POST on The Labours of the Months: September. https://cindydyer.wordpress.com/2007/08/01/harvesting-grapes-812007/

A man in the National Gallery painting sits beneath a tree inform us the Renaissance experts in the London Museum, through which a vine has been trained. A large bunch of red grapes hangs from a leafy stem. He uses both hands to squeeze the juice from another bunch into a wooden vat on the ground at his feet. The grape juice will be turned into wine and possibly stored in the barrel we see being made in an earlier scene. This is a fitting scene for any painting depicting the Labours of the Months and particularly the scene representing September. https://www.nationalgallery.org.uk/paintings/italian-venetian-the-labours-of-the-months-september

By an unknown Venetian artist…
The Labours of the Months: September (detail), about 1580, oil on canvas, 13.6 x 10.6 cm, National Gallery, London
https://www.nationalgallery.org.uk/paintings/italian-venetian-the-labours-of-the-months-january#painting-group-info

Europeans of the Renaissance period created, in various Art media, Calendars of specific religious events celebrated every month of the year. These Calendars were often embellished with scenes of seasonal, agricultural activities and popular scenes of the life of the elite courtiers as well. These iconographic scenes are traditionally called the ‘Labours of the Months’. They can be seen in manuscripts like Psalters, Breviaries, and Books of Hours, sculptural decorations of Cathedrals, and like in the case we explore this year, a set of decorated doors for a Venetian Palazzo. Their artistic rendering and content varies depending on the date, location, and purpose of each artwork

A typical Calendar depicting agricultural Activities present, often but not always, scenes of Feasting for January, Sitting by the fire for February, Pruning trees or digging for March, Planting and enjoying the country or picking flowers for April, Hawking and courtly love for May, Hay harvest for June,  Wheat harvest for July, Wheat threshing for August, Grape Harvest for September,  Ploughing or sowing for October,  Gathering acorns for pigs for November and Killing pigs or baking for December.

The small painting in London presenting September as a man squeezing the juice from a bunch of grapes is part of a special set of Renaissance painted Doors. The unknown artist who created this painting used vivid, bright, luxurious colours, like reds, blues, white and green. He combined simplicity in execution and extravagance in visual effect, creating a charming decorative effect.

For a PowerPoint on the painting under focus at the National Gallery in London, please… Check HERE!

End of the Season by William Merritt Chase

William Merritt Chase, American painter, 1849-1916
End of the Season, c. 1885, Pastel on Paper, 35 x 45 cm, Mount Holyoke College Art Museum, South Hadley https://www.wga.hu/support/viewer_m/z.html

The familiar rhythm of the cricket’s chirps / Create the soundtrack for each day, / Echoing Summer’s end / And that Autumn’s on her way.     /     The stifling heat of the summer sun / Is now tempered by the clouds. / Those fluffy, cotton August clouds, / That soft breezes push about.     /     Shadows falling everywhere / As the sun plays peek-a-boo. / Losing her strength with each new day, / A sure sign that summer is through…     /    But there’s also a haunting sadness sometimes. / That I feel when those dark shadows fall. / And that my greatest adventures in life / Are just memories, now aroused by those sweet cricket calls. The end of summer, carefree days, is fast approaching… the beginning of the new School year is right in the corner…  and I think of Patricia A. Fleming’s Poem for Kids The Summer’s End and the End of the Season by William Merritt Chase. I feel melancholic… just like the lady in the painting! https://www.momjunction.com/articles/poems-about-summer-for-kids_00720909/

I like how perceptively William Merritt Chase’s ideas on how Idle Hours should be depicted is described in the article William Merritt Chase and modern leisure, and presented in ANTIQUES, back on August 29, 2016. Furthermore, an introduction to his life is more than essential to understand his style… That aura of pleasure suffuses Chase’s work and belies the effort he put into creating innovative paintings of modern life. He worked hard to make his art look easy. Born to a middle-­class family in Indiana, Chase cobbled together the support of local businessmen to finance his art education in Munich. From 1872 to 1878 he studied at the Royal Academy there, mastering the dark, gestural brushwork of the Munich school and studying the work of the old masters. He sent his paintings back to New York for display, earning admiration even before he returned to the United States in 1878. He immediately took rooms in New York’s most prestigious studio space, the Tenth Street Studio Building, where he established himself at the center of the city’s art world and created an eclectic, European-­inspired studio space that announced his reputation as a well-traveled bohemian and an imaginative, creative artist. Soon thereafter, he began to explore modern subjects of relaxation in an innovative style. https://www.themagazineantiques.com/article/idle-hours-william-merritt-chase-and-modern-leisure/

Spending my summers in a Greek sea-front small village, being a teacher who treasures my last days of summer bliss, I feel very close to the End of the Season, by William Merritt Chase in Mount Holyoke College Art Museum. It is one of his early paintings depicting a scene at the beach at the end of the summer season. A woman in fashionable summer greyish attire sits comfortably, leaning over the empty table, at the right side of the composition. She is looking at the distant fishermen whose boat rests on the strand… and the fresh, choppy sea… There are more tables in the composition, the chairs tipped up against them… empty now of holiday visitors. No wonder the title is End of the Season.  http://museums.fivecolleges.edu/detail.php?t=objects&type=ext&id_number=MH%201976.9

William Merritt Chase probably painted the End of the Season during a summer visit to Holland as a tribute, according to a critic, to a “Continental watering-place, with  chairs and tables upset by the seashore, and a single lonely figure.” This is one of the artist’s earlier pastel paintings, a medium much admired for its dry powdery finish and brilliant colors. Pastel painting was a declaration of modernism in the period, admired by the avant-­garde for the way in which its sketch-­like character called attention to the artist’s hand. Chase, the cofounder in 1883 of the Society of Painters in Pastel, was a master of it. https://www.themagazineantiques.com/article/idle-hours-william-merritt-chase-and-modern-leisure/

For a Student Activity, please… Check Here!

Maiolica Credenza

Nicola da Urbino, active by 1520–died ?1537/38
Armorial Plate (tondino): The story of King Midas (This plate is part of the Isabella D’Este Credenza), ca. 1520–25, Maiolica (tin-glazed earthenware), Diam. 27.5 cm, the MET, NY, USA
https://www.metmuseum.org/art/collection/search/459198?searchField=All&sortBy=Relevance&ft=Nicola+da+Urbino&offset=0&rpp=20&pos=1

Maiolica, the refined, white-glazed pottery of the Italian Renaissance, we are informed by the Metropolitan Museum of Art experts, was adapted to all objects that were traditionally ceramic, such as dishes, bowls, serving vessels, and jugs of all shapes and sizes. It was also used as a medium for sculpture and sculptural reliefs, as well as floor and ceiling tiles. The latter were rectangular, laid side by side across specially adapted joists. Maiolica Credenza is a new BLOG POST about a very special set of plates that connects important people of the Renaissance… Isabella d’Este, Marchioness of Mantua, Eleonora Gonzaga, Isabella’s daughter and Duchess of Urbino, and the artist Nicola da Urbino, a great innovator of the humble art of pottery-making. https://www.metmuseum.org/toah/hd/maio/hd_maio.htm

Replicas of the twenty-three surviving dishes that make up Isabella D’Este’s Maiolica Credenza by Mantuan artist Ester Mantovani
https://milano.corriere.it/notizie/cronaca/15_novembre_01/i-piatti-raccontano-rinascimento-mostra-gioielli-isabella-d-este-71ab65c2-80b2-11e5-aac9-59b4cd97071f.shtml
 

I have had made a credenza (service, of a kind that could be displayed on a buffet) of earthenware vessels and I am sending it… since the maestri of this country of ours (the Duchy of Urbino) have some reputation for good work. And if it pleases Your Excellency I shall be happy and you might make use of it at Porto (Porto Mantovano, Isabella’s country villa) since it is a villa thing (Cosa da Ville)… elegantly wrote Eleonora Gonzaga, Duchess of Urbino to her mother Isabella d’Este, Marchioness of Mantua describing a magnificent gift of maiolica plates by Nicola da Urbino, the Raphael of Maiolica, the most important creator of the maiolica narrative (istoriato) painting. https://books.google.gr/books?id=2i_ADAAAQBAJ&pg=PA172&lpg=PA172&dq=Letter+of+Eleonora+Gonzaga+e+Isabella+d%27Este+on+a+credenza&source=bl&ots=hRCkXjAsnh&sig=ACfU3U08yg2DA0SUvn2Nvmyd4awltOnmMg&hl=el&sa=X&ved=2ahUKEwiR48z7xM3xAhU3gf0HHWvcBU8Q6AEwEnoECBYQAw#v=onepage&q=Letter%20of%20Eleonora%20Gonzaga%20e%20Isabella%20d’Este%20on%20a%20credenza&f=false

Gian Cristoforo Romano, ca. 1465-1512
Portrait Medal of Isabella d’Este, 1495-98, Gold with diamonds and enamel, D. 7 cm,
Kunsthistorisches Museum, Vienna, Austria

Today I would like to act more like a Curator rather than a Teacher and present you with a site I am fascinated about. It is titled… IDEA Isabella D’Este Archive and I like the way it was founded, how it operates, and the wealth of information on the current topic. I wish I was in Mantua this summer and over gelato, listen to the stories the scholars of IDEA tell… how maiolica… was a popular type of earthenware in sixteenth-century Europe. How… this type of ceramic was fired at a low temperature and covered in a thin glaze that created a white ground for colorful narratives and personal emblems…How the IDEA scholars reunite in their site the surviving twenty-three individual maiolica dishes from Isabella’s credenza for study. Isabella d’Este’s maiolica dishes can no longer be viewed as a single service, and are now divided among museums and private collectors across three continents. By viewing all twenty-three dishes together, researchers have a better sense of service as a whole, in which the individual dishes, painted narratives of Ovid and Virgil, read like pages in a book. https://ideaart.web.unc.edu/idea-ceramics/

For the time being, I put together a PowerPoint of all surviving maiolica plates of the famous Isabella D’Este Credenza… HERE!

Two interesting IDEA Videos on the Isabella D’Este Maiolica Credenza by Nicola da Urbino can be seen… https://ideaart.web.unc.edu/the-illustrated-credenza/

I somehow feel this is the beginning of a fascinating journey…

The Byzantine Icon of Panagia Nicopoiou

Icon of Panagia Nikopoiou, Komnenian period (1081-1185), Wood, 58×55 cm, St. Mark’s Basilica, Venice, Italy https://www.pallasweb.com/deesis/nicopeia-icon-san-marco-loot-from-constantinople-1204-crusade

I like how Chrysa A. Maltezou starts her article “Βενετία κι Βυζαντινή Παράδοση – Η Εικόνα της Παναγίας Νικοποιού” (Venice and the Byzantine Legacy – The Byzantine Icon of Panagia Nikopoiou). Please allow me to paraphrase… It was May of 1797, the army of Napoleon Bonaparte was at Venice’s doorstep, the end of the Venetian Republic was fast approaching and the citizens of La Serenissima were desperate… Their hopes rested on divine intervention and like the Byzantines, a centuries-old memory, the Comnenian Icon of Panagia Nikopoiou, Venice’s Palladium, was placed on public veneration at San Marco’s Basilica…It is only interesting to contemplate how the Venetians, hoping for salvation and victory remembered their ties to the long-lost Empire of Byzantium and its Legacy! https://ejournals.epublishing.ekt.gr/index.php/bz/article/view/3570/3430

Tradition links the Icon of Panagia Nikopoiou to Constantinople and the fateful days of the Fourth Crusade, when according to Giovanni Battista Ramusio (1485-1557) the Icon of Nikopoiou (Bringer of Victory) abandoned by Alexios Mourtzouflos on the battlefield, was captured by the Crusaders… The barons and the Venetians battered the walls and towers day and night without with various machines, and redoubled the War, conducting many great skirmishes from one area to another; it was in one of these that they valorously acquired the banner of the Tyrant but with much greater joy a panel on which was painted the image of Our Lady, which the Greek Emperors had continuously carried in their exploits since all their hopes for the health and salvation of the Empire rested in it.  The Venetians held this image dear above all other riches and jewels that they took, and today it is venerated with great reverence and devotion here in the church of San Marco, and it is one that is carried in procession during times of War and plaque, and to pray for rain and good weather… https://www.pallasweb.com/deesis/nicopeia-icon-san-marco-loot-from-constantinople-1204-crusade

Icon of Panagia Nikopoiou (detail), Komnenian period (1081-1185), Wood, 58×55 cm, St. Mark’s Basilica, Venice, Italy https://www.pallasweb.com/deesis/nicopeia-icon-san-marco-loot-from-constantinople-1204-crusade

It has been debated, since 1821, whether the Icon of Panagia Nikopoiou, as Nikitas Choniatis mentions in his Χρονική Διήγησις with one brief sentence …ητηςθεομήτοροςεικών, ήνοιβασιλείςΡωμαίωνποιούνταισυστράτηγον, τοῖς ἐναντίοις ἑάλωκεν… is the same Icon Emperor Alexios Mourtzouflos abandoned on the Walls of Constantinople. Giovanni Battista Ramusio thinks so, and writes about it, establishing a tradition that still keeps strong… http://users.uoa.gr/~nektar/history/tributes/byzantine_historians/nicetas_choniates_historia.htm and https://ejournals.epublishing.ekt.gr/index.php/bz/article/view/3570/3430

The Icon itself, presenting Mary holding the Child before Her, is a wonderful work of Art… a fine example of Byzantine iconography. Stark and imposing, it has a compelling effect on me every time I visit San Marco to pay my respects. Conserved in the left transept of the great Basilica, in a chapel of the same name, the Icon of the Virgin was once covered with precious jewels, diamonds, and pearls, now exhibited in the Treasury, following theft and later recovery.

Icon of Panagia Nikopoiou (detail of the embellished frame), Komnenian period (1081-1185), Wood, 58×55 cm, St. Mark’s Basilica, Venice, Italy https://www.pallasweb.com/deesis/nicopeia-icon-san-marco-loot-from-constantinople-1204-crusade

Today, the Icon is enhanced by its Byzantine frame of gilded silver with gold enamels, pearls, and gemstones, of great beauty. The best-preserved part of the Icon is the face of the Virgin, oval in shape, with thick, arched eyebrows, a definite trait of beauty, large eyes, looking slightly to the left, a long nose, and small lips. It is not firmly established when and by whom this amazing Icon was painted. I can only say that it displays extreme delicacy and refinement in the painter’s technique. https://www.pallasweb.com/deesis/nicopeia-icon-san-marco-loot-from-constantinople-1204-crusade

For a Student Activity, please… Check HERE!

Plan of St. Mark’s Basilica in Venice, Italy – marked in red (No. 13) is the location of the Icon of Panagia Nikopoiou https://www.pallasweb.com/deesis/nicopeia-icon-san-marco-loot-from-constantinople-1204-crusade

The Formidable Queen Tiye

Queen Tiye (probably), ca. 1353–1336 BC, New Kingdom, Amarna Period, Dynasty 18, Quartzite, 13.3×12.5×12.4 cm, the MET, NY, USA
https://www.metmuseum.org/art/collection/search/544693?searchField=All&sortBy=Relevance&high=on&ao=on&showOnly=openAccess&ft=*&offset=0&rpp=80&pos=61

The long-lost mummy of The Formidable Queen Tiye has been found. Wife of Amenhotep III, mother of Akhenaten, and grandmother of Tutankhamun (?), she has been lurking undetected, virtually under the noses of the Egyptologists, for more than 75 years until Professors Edward P Wente of the Oriental Institute and James R. Harris of the University of Michigan made their spectacular discovery.

The road to the discovery really began in 1898 when the French archaeologist V. Loret came upon three nameless bodies in a side chamber of Amenhotep II’s tomb in the Valley of the Kings. One of these was of a middle-aged woman. Despite the passage of thousands of years her well-preserved face still wore a striking, haughty look, and her head was covered with long, curly, brown hair, that lent a certain sensuality to her face. But there was no clue to the identity of the woman.

Tutankhamun’s tomb was discovered in 1922. In that tomb, in one of a series of miniature coffins, was a lock of Queen Tiye’s hair, deposited as an affectionate memento to accompany the young king on his journey into the beyond. The connection between these two discoveries was overlooked until very recently when Professors Wente and Harris began to prepare a book on the royal mummies of ancient Egypt. While grappling with the problem of the unidentified woman, the idea occurred to them that she might be Queen Tiye. How could they be sure? The lock of hair buried with Tut came to mind, and scientific tests comparing the lock and the mummy’s hair proved beyond doubt that the two belonged to the same person. Queen Tiye was found – and through a discovery of a refreshing degree of certainty. file:///C:/Users/aspil/OneDrive/Blog/Egypt/Queen%20Tiye%20Found.pdf

I love rereading the October 1976 article on the discovery of Tiye’s mummy in the Oriental Institute’s News & Notes (No. 30). Even more so today, as I prepare the presentation of one of my favourite sculptural portraits of Queen Tiye exhibited in New York, at the Metropolitan Museum of Art. https://oi.uchicago.edu/sites/oi.uchicago.edu/files/uploads/shared/docs/nn30.pdf

Colossal statue of Amenhotep III and Tiye with three of their daughters from Medinet Habu in Western Thebes, 1360 BC, limestone, 7 x 4,4 m, Egyptian Museum in Cairo, Egypt
https://joyofmuseums.com/museums/africa-museums/egypt-museums/cairo-museums/egyptian-museum/statue-of-amenhotep-iii-and-tiye/

When I think of Queen Tiye, I think of Egypt’s golden age, a successful Pharaoh of the 18th Dynasty, Amenhotep III (1391–1353 or 1388–1351 BC), a sizeable and prosperous empire, great wealth from Nubia and the Levant, and a new era of monument building and artistic expression. I also think of a formidable lady whose influence on the Pharaoh grew stronger over the years. It is interesting how in official statues of the royal couple, she and Amenhotep are the same height, symbolizing a relationship of equals.https://www.nationalgeographic.com/history/history-magazine/article/king-tut-grandparents-tiye-amenhotep-egypt-royal-couple

Queen Tiye (probably), ca. 1353–1336 BC, New Kingdom, Amarna Period, Dynasty 18, Quartzite, 13.3×12.5×12.4 cm, the MET, NY, USA
https://www.metmuseum.org/art/collection/search/544693?searchField=All&sortBy=Relevance&high=on&ao=on&showOnly=openAccess&ft=*&offset=0&rpp=80&pos=61

The quartzite head of Queen Tiye in the Metropolitan Museum, in New York, dates from the time of Akhenaten’s reign and it seems to be a statue commemorating the Pharaoh’s (Akhenaten’s) royal family in the new “Amarna” style. The sensitive modeling of the face is typical of the workshop of the sculptor Thutmose at Tell el-Amarna and the existence of gypsum plaster casts excavated in Thutmose’s studio suggests that this portrait may have been part of a group statue depicting Akhenaten with his parents, Tiye, and Amenhotep III. The New York portrait shows an imperious, authoritative, and clever woman realistically rendered yet respectful to her maturity. Tiye’s life is an intriguing chapter in Egyptian history, and the MET’s portrait, scared and broken, intrigues me as well… https://www.metmuseum.org/art/collection/search/544693?searchField=All&sortBy=Relevance&high=on&ao=on&showOnly=openAccess&ft=*&offset=0&rpp=80&pos=61

For a Student Activity on The Formidable Queen Tiye Post, please… Click HERE!

Homer’s Summer Night

Winslow Homer, American Artist, 1836-1910
Summer Night, 1890, Oil on canvas, 76.7×102 cm, Musée d’Orsay, Paris, France
https://news.harvard.edu/gazette/story/2017/03/winslow-homers-summer-night-examined-at-harvard-art-museums/

Harvard Art Museums’ Elizabeth and John Moors Cabot Director Martha Tedeschi, discussing in an interview Homer’s Summer Night said: One of the things that I think is so successful in this picture, and that I love about Homer in general, is that it evokes things that he could not have possibly painted into the picture, like sound. There are two young women dancing on a porch. That immediately implies that there’s probably music playing. And in fact, an early title of this picture was “Buffalo Gals” after the popular song. So with that title in mind, and looking at the women dancing, you could almost start humming that song to yourself and the lines “Buffalo gals won’t you come out tonight, and we’ll dance by the light of the moon.” There is also the silhouetted group of people to the right of the picture who appear mesmerized by the sound of the crashing waves and the light flickering across the surface of the water. Homer conjures the sound of relentless splashing and churning. You can feel the spray, you can feel that cool breeze coming across that moonlight sea… https://news.harvard.edu/gazette/story/2017/03/winslow-homers-summer-night-examined-at-harvard-art-museums/m

This nocturnal scene by the sea transcends observed reality through a keen sense of poetry and mystery… this is how the Musée d’Orsay experts describe Homer’s Summer Night. The light and shade effects blur shapes, the experts continue while the ghostly silhouettes of two women dance on the shore. Although it may well have been influenced by Courbet’s Waves, the lyricism tinged with mysticism expressed by Homer helped develop a feeling for nature that is peculiarly American. https://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire/commentaire_id/summer-night-2970.html

Winslow Homer, American Artist, 1836-1910
Summer Night (detail), 1890, Oil on canvas, 76.7×102 cm, Musée d’Orsay, Paris, France https://twitter.com/linshangon/status/1016569875190374400/photo/1

Winslow Homer is one of the finest 19th century American Artists. His career started as a graphic reporter during the American Civil War with paintings like Home, Sweet Home, and Sharpshooter on Picket Duty, of 1863, or Prisoners from the Front, of 1866 defining his early career. The late 1860s and the 1870s were, however, the artist’s finest years of artistic experimentation and prolific and varied output. Living and working in New York, but traveling to Paris, in late 1867, for the exhibition of two of his Civil War Paintings at the Exposition Universelle, Homer came face to face with the French avant-garde, and although there is little likelihood of influence, the artist shared their subject interests, their fascination with serial imagery, and their desire to incorporate into their works outdoor light, flat and simple forms (reinforced by their appreciation of Japanese design principles), and free brushwork. https://www.metmuseum.org/toah/hd/homr/hd_homr.htm

For a Student Activity, please… Check HERE!

Teaching with the Kritios Boy

Kritios Boy, 480  BC, Marble from the island of Paros, Height: 116.7 m, Acropolis Museum, Athens, Greece https://www.theacropolismuseum.gr/en/youth-statue-kritios-boy

Teaching with the Kritios Boy is a set of student activities and worksheets inspired by an awe-inspiring work of art created by a remarkable artist, a daring creator, and an amazing innovator! According to the Acropolis Museum experts, The statue’s torso was found in 1865-1866 southeast of the Parthenon, while the head in 1888 near the south walls of the Acropolis. It is one of the most important works of ancient Greek art and the most characteristic of the so-called “Severe Style”. Archaeologists have dubbed it the “Kritios Boy”, after the name of the sculptor believed to have created it. The “Kritios Boy” is depicted standing in the nude. He supports his weight on his left leg, while the right one remains loose, bent at the knee, in the characteristic posture of the “Severe Style”. His expression is solemn and his eyes, which were originally crafted from another material, have not survived. His hair follows the shape of his scalp and is tightly gathered around a ring with a few scattered strands falling on his temples and the nape of his neck. Traces of red dye are preserved on his hair. The attribution of this statue to the sculptor Kritios is based on the similarities it presents with the statue of Harmodios from the bronze group of the Tyrannicides, a work of Kritios in collaboration with Nesiotes. This group, known to us today through marble copies of the Roman period, was erected in the Ancient Agora of Athens. Who does this statue portrays, however, is not known. Some scholars believe he represents a young athlete, the winner of an event in the celebration of the Greater Panathenaia. Others claim he depicts a hero, most likely Theseus. Moreover, they link the dedication of the statue on the Acropolis with the activities of 476/5 BC, when Kimon transferred Theseus bones from the island of Skyros to Athens. https://www.theacropolismuseum.gr/en/youth-statue-kritios-boy

Kritios Boy – face detail, 480  BC, Marble from the island of Paros, Height: 116.7 m, Acropolis Museum, Athens, Greece http://ancientrome.ru/art/artworken/img.htm?id=5960

Teaching with the Kritios Boy References, PowerPoint, and Activities…

For a List of ONLINE References on the Kritios Boy TeacherCurator put together, please… Click HERE!

For my PowerPoint on the Kritios Boy, please… Click HERE!

I always feel confident discussing an artist with my students when I prepare my Steps to Success Lesson Plan Outline

For Student Activities (3 Activities), please… Click HERE!

Marble statue of a kouros (youth), ca. 590–580 BC, Marble from the island of Naxos, (194.6 × 480 BC51.6 × 63.2 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/253370
Aristodikos Kouros, 510-500 BC, Marble from the island of Paros, Height: 1.9 m, National Archaeological Museum, Athens, Greece http://nam.culture.gr/portal/page/portal/deam/virtual_exhibitions/EAMS/EAMG3938
Kritios Boy, 480  BC, Marble from the island of Paros, Height: 116.7 m, Acropolis Museum, Athens, Greece https://www.theacropolismuseum.gr/en/youth-statue-kritios-boy  

I hope, Teaching with the Kritios Boy, will prove easy and helpful. Do you think it justifies my BLOG name Teacher Curator?

Marble statue of a kouros (face), ca. 590–580 BC, Marble from the island of Naxos, (194.6 × 480 BC51.6 × 63.2 cm, the MET, NY, USA
https://gr.pinterest.com/pin/682436149758725905/
Aristodikos Kouros (face), 510-500 BC, Marble from the island of Paros, Height: 1.9 m, National Archaeological Museum, Athens, Greece https://arthistorykmg.omeka.net/items/show/106
Kritios Boy (face), 480  BC, Marble from the island of Paros, Height: 116.7 m, Acropolis Museum, Athens, Greece http://ancientrome.ru/art/artworken/img.htm?id=5960

Salvador Dali or Pavlos Samios

Salvador Dali, 1904 – 1989
Figure at the Window, 1925, Oil on papier-mâché, 105 x 74,5 cm, Museo Nacional Centro de Arte Reina Sofia https://en.opisanie-kartin.com/description-of-the-painting-by-salvador-dali-woman-at-the-window/
Pavlos Samios, 1948 – 2021
Awaiting, 1983, Acrylic on canvas, 130 × 88 cm, Basil & Elise Goulandris Foundation, Athens https://goulandris.gr/en/artwork/samios-pavlos-awaiting
https://www.iefimerida.gr/politismos/paylos-samios-kafeneia-pethane

“She opened her curtains, and looked out towards the bit of road that lay in view, with fields beyond outside the entrance-gates. On the road there was a man with a bundle on his back and a woman carrying her baby; in the field she could see figures moving – perhaps the shepherd with his dog. Far off in the bending sky was the pearly light; and she felt the largeness of the world and the manifold wakings of men to labor and endurance. She was a part of that involuntary, palpitating life, and could neither look out on it from her luxurious shelter as a mere spectator, nor hide her eyes in selfish complaining…” wrote George Eliot (Mary Anne Evans, 1819-1880) in Middlemarch. I believe her quotation can be a wonderful introduction for my new BLOG POST, Salvador Dali or Pavlos Samios, inspired by Awaiting, a beautiful painting by Pavlos Samios in the Basil & Elise Goulandris Foundation in Athens. https://www.goodreads.com/quotes/tag/window

Mid-July 2021 and with COVID still ON, I am constantly in front of my open windows or balcony doors searching for signs of a summer break… eager to be freed. Two paintings, by Salvador Dali and Pavlos Samios, inspire me to dream, hope, and be …merry!

Pavlos Samios, 1948 – 2021
Awaiting, 1983, Acrylic on canvas, 130 × 88 cm, Basil & Elise Goulandris Foundation, Athens https://goulandris.gr/en/artwork/samios-pavlos-awaiting
https://www.iefimerida.gr/politismos/paylos-samios-kafeneia-pethane

Pavlos Samios is an artist I particularly like. His painting Awaiting in the Basil & Elise Goulandris Foundation in Athens is a favourite of mine. I also like what I read in his notes: In the early 1980s, the idea of ​​Surrealism and the Metaphysical School greatly influenced me. In Paris, he continues there is little sun and the sea is far away, and yet, I dream of an unforgettable summer and I create a number of very nostalgic paintings. Fantastic buildings in the sand… The feeling of a desirable girl in a special place, on an untouched island. https://goulandris.gr/el/artwork/samios-pavlos-awaiting

On the 25th of November 2019, I “published” my first BLOG POST ON the amazing Art Collection of the Basil & Elise Goulandris Foundation in Athens I am constantly surprised how much this new addition to the Athenian Art Gallery circuit will enthuse me… https://www.teachercurator.com/category/basil-and-elise-goulandris-foundation-athens/

Salvador Dali, 1904 – 1989
Figure at the Window, 1925, Oil on papier-mâché, 105 x 74,5 cm, Museo Nacional Centro de Arte Reina Sofia https://en.opisanie-kartin.com/description-of-the-painting-by-salvador-dali-woman-at-the-window/

When I first saw Samios’s Awaiting, I immediately thought of Salvador Dali and his1925 portrait of his sister Anna Maria in Figure at the Window, exhibited at the Museo Nacional Centro de Arte Reina Sofia in Madrid. A wonderful painting that “travels” you to magical places. I particularly like how the Spanish Museo experts describe the painting as a masterpiece of Dali’s series of portraits of Anna Maria and how Rafael Santos Torroella stated that the painting is a marvel for the skill with which it combines the occupied spaces and the empty spaces, giving them equal compositional importance to such an extent that the fact that he has simply eliminated one of the window casements (the left one) escapes the viewer, who does not even notice the anomaly, despite the fact that this is precisely where so much of the enigmatic beauty radiating from the painting, with its pure serenity, resides. https://www.museoreinasofia.es/en/collection/artwork/figura-finestra-figure-window

For a Student Activity on Salvador Dali or Pavlos Samios, please… Check HERE!

The Tennis Court Oath by Jacques-Louis David

Jacques-Louis David, 1748 – 1825
The Tennis Court Oath, 1791, oil on canvas, 65 × 88.7 cm, Musée Carnavalet, Paris, France
https://upload.wikimedia.org/wikipedia/commons/8/87/Serment_du_Jeu_de_Paume_-_Jacques-Louis_David.jpg

One of the two representations of the historic The Tennis Court Oath by Jacques-Louis David is exhibited in the Musée Histoire de Paris Carnavalet. The Museum experts describe the painting as… An emblematic work of the revolutionary period, this historical representation illustrates a key moment in 1789: “the year without equal”. While the States General have been gathered in Versailles since their convocation on May 5, the debates trample around an essential issue: that of deliberation by order or by head. Soon, the elected officials of the third estate formed a National Assembly and were joined by the majority of those of the clergy, then by a very active minority of gentlemen. Gathered in a tennis court near the royal palace following a ban on sitting, the deputies of the Nation solemnly swear not to separate before having established a Constitution. The oath, read by the President of the Assembly Jean-Sylvain Bailly, is signed by all representatives except one, whose freedom of opinion was respected. The actors, none of whom are turning their backs, seem to play their role as on a stage. But this is the theater of history… https://www.carnavalet.paris.fr/collections/serment-du-jeu-de-paume-le-20-juin-1789

Jacques-Louis David, 1748 – 1825
The Tennis Court Oath, 1791, pen, ink, wash and heightened with white on pencil on paper, 65.5×101 cm, Palace of Versailles, France
https://en.wikipedia.org/wiki/The_Tennis_Court_Oath_(David)#/media/File:Le_Serment_du_Jeu_de_paume.jpg

David’s canvas at Carnavalet’s Museum is unfinished, just a step in colour, compared to the sketch in Versailles, of the same theme, and few preparatory drawings. The importance of the theme is momentous. David was commissioned to do a huge painting on the Oath of the Jeu de Paume, held in Versailles on June 20, 1789, by the Society of Friends of the Constitution. His aim was to represent very recent history, and real people in contemporary costume, thus posing a real challenge to the public traditional history painting. This drawing was exhibited in the Salon of 1791 with the intention to raise money and finance, at first, an engraving and in the end, the final painting of the historic Tennis Court Oath, which, unfortunately, was never completed. David’s drawing entered the Louvre collection in 1886 and on April 5, 1939, was deposited at the Versailles Museum, where is currently exhibited. http://collections.chateauversailles.fr/#310a5e1d-d66e-4101-8358-463f4746b06a and https://en.chateauversailles.fr/discover/estate/royal-tennis-court

The artist of both artworks, Jacques-Louis David, is the finest representative of Neoclassicism in At and one of the most important French artists of all times. Seeking inspiration in the work of Nicolas Poussin and antiquity, David gained immediate success when in 1785 he displayed,  at the Parisian Salon, his painting Oath of Horatii, a portrayal of his artistic and political beliefs… classical and revolutionary to their core. David proceeded in painting the important events of the French Revolution, right from its very beginning… the Tennis Court Oath taken by the Third Estate, Marie Antoinette led to her Execution and his most influential revolutionary painting of all, The Death of Marat in 1793.

For  PowerPoint on Jacques-Louis David’s oeuvre, please… Click HERE!