Art Archives - Page 4 of 37

Study for Ta Kalanta by Nikephoros Lytras

December 23, 2023

by admin 19th century Art Art Greek Art Neohellenic Art Powerpoints

**Nikephoros** **Lytras**, Greek Artist, 1832 – 1904
**Study for *Τα Κάλαντα* (Carols),** 1870s, Oil on Cardboard, 17,3 x 22,5 cm, National Gallery – Alexandros Soutsos Museum, Corfu Annex, Greece
https://www.nationalgallery.gr/en/artwork/study-for-carols/

Good Evening Kings, / if it’s your will / the divine birth of Christ / I’ll sing in your mansion. / Christ is born today, / in the city of Bethlehem, / the heavens are rejoicing, / all the nature rejoices. / Inside the cave is being born, / in a manger of horses, / The King of heavens / The Creator of all. / In this house, we’ve come / may no stone ever crack, / and the master of the house / may live for many years! Carols, known as Kalanta in Greek, are a beloved tradition for children worldwide. In Greece, during the Christmas season and New Year, Kalanta is joyously sung by children with great enthusiasm and gusto. This festive scene is precisely captured in our Christmas Eve BLOG POST titled… Study for Ta Kalanta by Nikephoros Lytras. https://hcc.edu.gr/greek-christmas-carols-meaning-and-translations/

This is an iconic work in Greek art, created in the 1870s while Lytras was Professor of Painting at the National Technical University in Athens. The painting, a genre scene inspired by Greek culture, is characteristic of Lytras’ style, which reflects the influence of the School of Munich. It combines academic principles, a realistic and detailed representation of what is presented, and a romanticized approach to the genre subject matter, a group of children singing Kalanta, the festive tradition during the Holidays Season.

The painting I am presenting, Study for Ta Kalanta by Nikephoros Lytras, is exhibited in the Corfu Annex of the National Gallery – Alexandros Soutsos Museum of Greece. It is, as the title connotates, a ‘Study” of the iconic larger oil on canvas painting by Lytras, Ta Kalanta, held in a private collection. Both paintings, apart from capturing a festive moment in Greek tradition, reflect the broader artistic and cultural movements of their time.

**Nikephoros** **Lytras**, Greek Artist, 1832 – 1904
*Τα Κάλαντα* (Carols), 1872, Oil on Canvas, 59×90 cm, Private collection https://commons.wikimedia.org/wiki/File:Lytras_Nikiforos_Carols.jpeg

Both paintings depict a group of five children in traditional attire, singing Kalanta in the rhythm of the drum and the flute. They are not alone. In front of the open door of a humble household, the five protagonists are watched by a young mother, cradling a baby in her arms. Interestingly, a sixth boy is added in the final version of Ta Kalanta. He emerges from behind the high fence wall, next to the courtyard’s leafless tree, gazing with curiosity at the unfolding scene of merriment.

Nikephoros Lytras masterfully crafted a scene of fading light, with the moon ascending in the sky and a small lantern flickering in the firm grip of one of the performers. This comes as no surprise, given that during Lytras’s era, children would sing carols after sunset, a tradition that continues to thrive in numerous rural regions of Greece to this day.

The artist intends to convey more than what I have already presented. In both of his paintings, a rich tapestry of symbolism unfolds. The mother’s offering of pomegranate fruits symbolizes not only rebirth but also abundance. The presence of a straw broom by the door and a leafless tree in the courtyard serves as a poignant representation of hardships and poverty, yet it carries an underlying message of hope for brighter days ahead. Adjacent to the other side of the door, an ancient Greek sculpture of a Nike figure hints at the enduring strength of the Greek people, serving as the foundation for future growth and fortune.

Both paintings of Τα Κάλαντα are regarded as masterpieces within Lytras’ body of work, exemplifying his capacity to seamlessly integrate technical expertise with a profound comprehension of Greek culture. By skillfully depicting children as the bearers and preservers of Greek cultural legacies Lytras connects the past with the present and sends the joyful message of camaraderie of all people, defying limitations, and discrimination. Celebrated for their emotional resonance, these artworks highlight the artist’s dedication to encapsulating the essence of Life.

Χρόνια Πολλά και πάντα ΚΑΛΑ!!!

For a PowerPoint titled 14 Masterpieces by Nikephoros Lytras, please… Check HERE!

Michael Attaleiates’s Ring at Dumbarton Oaks

December 19, 2023

by admin Art Byzantine Art Byzantine Jewelry Byzantium Jewelry Medieval Art Social Studies Student Activities Worksheets

**Ring of Michael Attaleiates**, before 1080, Enamel on Gold, 3 cm, Dumbarton Oaks, Washington, DC, USA http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222620%22&sort=0&page=10

Michael Attaleiates’s Ring at Dumbarton Oaks has an inscription on its hoop that reads… Bearer of God, help thy servant Michael Attaleiates… while the bezel of the ring displays the bust of the Virgin flanked by the abbreviation ‘Mother of God.’ Byzantine rings with the owner’s name are scarce, and a ring associated with such a distinguished citizen is exceptionally rare. It stands as an extraordinary treasure! http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222620%22&sort=0&page=10

In confronting this historical artifact, the initial question that arises relates to its owner, Michael Attaleiates. The key questions are: Who was he, and what attributes contributed to his recognition as a significant figure?

Michael Attaleiates was a Byzantine historian and government official who lived in the 11th century. He was likely born in Attaleia and relocated to Constantinople between 1030 and 1040 for legal studies. Upon his ‘graduation’ he entered the empire’s administration serving in the judiciary sector. Recognized for his judicial prowess, he received prestigious honors from the Byzantine Emperors and amassed substantial wealth through services in the empire’s administration.

In 1072, he compiled the Ponema Nomikon, a legal synopsis for Emperor Michael VII, based on the 9th-century Basilika. Around 1079/80, he penned The History, chronicling the Byzantine Empire from 1034 to 1079, showcasing valuable insights into the events and characters of his time, as well as the political, military, and social developments. His writings contribute significantly to our understanding of the political and cultural context of the Byzantine Empire during a critical period of its history. https://alexandria-publ.gr/shop/vios-ke-politia-enos-vizantinou-mandarinou/

**Ring of Michael Attaleiates**, before 1080, Enamel on Gold, 3 cm, Dumbarton Oaks, Washington, DC, USA https://twitter.com/Varangian_Tagma/status/1598350774496817152/photo/1

Back to Attaleiates’s ring, and according to Stephen Zwirn, retired Assistant Curator in the Byzantine Collection of Dumbarton Oaks as of 2012… the ring stands out for deviating from the typical cloisonné technique used in Byzantium, instead adopting the champlevé technique associated with medieval Western European production. This method involves carving a cavity into the background, filling it with enamel, and leaving raised lines to define the image, allowing for intricate details in the drapery folds and inscriptions. The ring is so well crafted, that there is no doubt that this technique had been fully mastered by a Byzantine artist. http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222620%22&sort=0&page=10

The second inquiry that arises concerns the acquisition history of the ring. According to Dumbarton Oaks records, on the 15th of August – a day Christians commemorate the feast of the Assumption of the Blessed Virgin Mary – the Dumbarton Oaks Research Library and Collection in Washington, DC, acquired Michael Attaleiates’s Ring from the Art Dealer Joseph Brummer. This prompts a dual question: Who was Joseph Brummer, and what distinguishes him as a noteworthy figure in the realm of art dealers?

**Henri Rousseau,** 1844 – 1910
**Portrait of Joseph Brummer,** 1909, Oil on Canvas, 115.9 × 88.3 cm, The National Gallery, London, UK https://www.nationalgallery.org.uk/paintings/henri-rousseau-portrait-of-joseph-brummer

Joseph Brummer was a prominent art dealer in the early to mid-20th century, known for his significant contributions to the art world. Born in 1883 in Hungary, Brummer, along with his brothers, Ernest and Imre, established the Brummer Gallery in Paris in 1905, later moving it to New York in 1914. The Brummer Gallery played a pivotal role in recognizing the artistic importance of Medieval Arts and unusually introducing them as if they were modernist artifacts. The Brummer Gallery was also famous for introducing European modern art to the United States, showcasing works by renowned artists such as Picasso, Modigliani, and Brancusi. Joseph Brummer was renowned for his discerning eye and deep knowledge of art, building a reputation as a tastemaker and a key figure in the art market during his time. His legacy lives on not only through the artworks he handled but also in the influence he had on shaping the appreciation of art in America. https://medievalartus.ace.fordham.edu/exhibits/show/josephbrummer/josephbrummer-essay

**P4125 recto:** Byzantine ring in heavy, massive gold, with Greek inscription all around and a seal on top, also in gold, with figure in champleve enamel; also inscription around ring, The MET: Thomas J. Watson Library Digital Collections – The Brummer Gallery Records, New York, USA https://libmma.contentdm.oclc.org/digital/collection/p16028coll9/id/29918/rec/17

**P4125 verso:** Byzantine ring in heavy, massive gold, with Greek inscription all around and a seal on top, also in gold, with figure in champleve enamel; also inscription around ring, The MET: Thomas J. Watson Library Digital Collections – The Brummer Gallery Records, New York, USA https://libmma.contentdm.oclc.org/digital/collection/p16028coll9/id/29917/rec/17

On the 15^th of August 1947, Dumbarton Oaks Research Library and Collection purchased Attaleiates’s Gold Ring from Joseph Brummer. Searching MET’s Thomas J. Watson Library Digital Collections – The Brummer Gallery Records, I present you with both sides of the Ring’s Inventory Card, Numbered P4125!

For a Student Activity, titled Comparative Analysis of Champlevé and Cloisonné Enamel Techniques in Byzantine Art, please… Check HERE!

The Arts of the Gothic Period

December 14, 2023

by admin Art Education French Art Medieval Art Powerpoints

**Basilica of Saint Denis,** completed in 1144, Paris, France
https://dianadarke.com/tag/saint-denis/

The Gothic period, spanning roughly from the 12th to the 16th century, was a transformative era in the history of art and architecture in Europe. Characterized by a departure from the preceding Romanesque style, the Arts of the Gothic Period sought to reach new heights—both literally and figuratively. One of the defining features of Gothic architecture is the Pointed Arch, allowing for taller and more graceful structures, exemplified in the soaring cathedrals that stand as iconic symbols of the period. Ribbed vaults and flying buttresses became integral elements, enabling the construction of large, light-filled interiors. Intricately detailed Stained Glass Windows played a crucial role in illuminating these spaces, with vibrant scenes from biblical narratives or depictions of saints. Sculpture, too, flourished during this period, with an emphasis on naturalistic forms and intricate detailing. The Gothic arts, including illuminated manuscripts and panel paintings, often reflected the religious fervor of the time, showcasing a blend of piety and artistic innovation. The Gothic period remains a testament to the creative and spiritual aspirations of medieval Europe, leaving an enduring legacy in its architectural masterpieces and finely crafted artworks.

Architecture

Gothic architecture, prevalent in Europe from the 12th to the 16th century, is characterized by its soaring verticality, pointed arches, ribbed vaults, and flying buttresses. In contrast to the massive and solid structures of Romanesque architecture, Gothic buildings exhibit a sense of upward movement and lightness. The pointed arches, a departure from the round arches of the Romanesque style, allowed for greater height and grace in the design. Ribbed vaults and pointed arches not only added aesthetic elegance but also distributed the weight of the roof more efficiently. The flying buttresses, external supports resembling arched piers, played a crucial role in supporting the walls and allowed for expansive windows, often featuring intricate tracery. These large stained glass windows, a hallmark of Gothic cathedrals, flooded the interiors with colored light, creating an ethereal and transcendent atmosphere. Overall, Gothic architecture represents a departure from the solid and fortress-like structures of the Romanesque period, embracing a vertical and ornate style that reflected a spiritual aspiration toward the divine.

Sculpture

Gothic sculpture is characterized by its intricate detailing, expressive figures, and a heightened sense of naturalism. Gothic sculptors moved away from the stylized forms of the preceding Romanesque period, instead focusing on capturing the human form with greater realism and emotion. Figures in Gothic sculptures are often elongated, with graceful, flowing lines that impart a sense of movement. Sculptures adorning cathedrals and other Gothic structures often depict biblical scenes, saints, and grotesque gargoyles. The use of drapery became more elaborate, creating dynamic and lifelike folds. Moreover, Gothic sculptors employed deep relief and innovative techniques, such as “stiff leaf” carving and elaborate tracery, contributing to the overall sense of delicacy and intricacy in their work. These sculptures not only served a decorative purpose but also played a didactic role, conveying religious narratives and moral lessons to a largely illiterate medieval audience.

**The Stained Glass Rose Window of the North Transept** of the **Basilica of Saint Denis**, completed in 1144, Paris, France https://commons.wikimedia.org/wiki/File:Basilica-of-Saint-Denis-Rayonnant-Rose-Window.jpg

Stained Glass Windows

Gothic Stained Glass Windows, a defining feature of medieval cathedrals and churches from the 12th to the 16th century, are characterized by their vibrant colors, intricate tracery, and narrative depictions. These windows played a crucial role in Gothic architecture, allowing the infusion of light into the sacred space while serving as a visual storytelling medium. Unlike the smaller and simpler windows of earlier periods, Gothic Stained Glass Windows became expansive, featuring elaborate tracery patterns that divided the glass into intricate segments. The use of intense, jewel-like colors, achieved through the inclusion of metallic oxides in the glass, created a breathtaking visual effect when illuminated by sunlight. Scenes from the Bible, the lives of saints, and other religious narratives were vividly portrayed, often covering entire walls and transforming the interior of the church into a luminous and ethereal space. The intricate craftsmanship of these windows, combined with their symbolic and narrative richness, reflects the Gothic era’s emphasis on transcending earthly confines and conveying spiritual narratives through the play of light and color.

For a PowerPoint on French Gothic Art, please… Check HERE!

Bibliography: https://smarthistory.org/gothic-architecture-an-introduction/ and https://smarthistory.org/gothic-architecture-explained/ and http://www.visual-arts-cork.com/sculpture/gothic-sculpture.htm#characteristics and https://www.khanacademy.org/humanities/medieval-world/gothic-art/beginners-guide-gothic-art/a/stained-glass-history-and-technique and https://buffaloah.com/a/DCTNRY/stained/gothic/gothic.html

Lo Scheggia’s Reclining Youth

December 9, 2023

by admin 15th century Italian Renaissance Art Art Italian Renaissance Art Powerpoints Renaissance Renaissance Art

**Giovanni di ser Giovanni Guidi (called Lo Scheggia),** 1406–1486
The **Inner lid of a wedding chest with the image of a Reclining Youth**, first half of the 15th century, wood, Musée du Petit Palais, Avignon, France
http://www.travelingintuscany.com/art/loscheggia.htm

The father, more than anyone, must labor with hands and feet, with every nerve, with zeal and wisdom, for he must attempt to make his children moral and upright. That they may serve the advantage of the family—moral character being no less precious in a young man than wealth—and be an ornament and credit to their family, their country, and themselves… It is generally thought better for a country, if I am not mistaken, to have virtuous and upright citizens rather than many rich and powerful ones. And surely children whose character is poor must be a terrible sorrow to any father who is not insensible and utterly foolish… writes Leon Battista Alberti and I think of Lo Scheggia’s Reclining Youth!

Giovanni di Ser Giovanni Guidi, known as Lo Scheggia, was an Italian Renaissance artist. He was born in 1406 in San Giovanni Valdarno, Italy, and was the brother of the famous artist Masaccio (Tommaso di Ser Giovanni di Mone Cassai). Lo Scheggia is primarily known for his work as a painter, but he also engaged in the decoration of domestic furnishings, such as wedding chests, birth trays, spalliera panels, strongboxes, and headrests. http://www.travelingintuscany.com/art/loscheggia.htm

The artist received his nickname “Lo Scheggia,” which means “the splinter” in Italian, due to his slender build, but also probably because of his specialization as a painter of wooden artifacts. A decisive influence on Giovanni’s training, what probably set him on the path to his artistic career as a decorator of furnishings, was his grandfather Mone, who was a cassaio, that is a craftsman who specialized in the construction of chests. He was also influenced by his brother, Masaccio’s, innovative approach to perspective, anatomy, and realism, which were revolutionary during the early Renaissance. Lo Scheggia worked along with his brother, on Masaccio’s workshop, with whom he lived in Via de’ Servi along with their mother. http://www.travelingintuscany.com/art/loscheggia.htm

Although not as celebrated as his brother, and his career not as extensively documented as some of his contemporaries, Lo Scheggia made important contributions to the art scene of his time. He worked on various projects alongside other renowned artists of the Renaissance. His masterpiece, painted around 1449, is considered to be the Birth Tray for Lorenzo il Magnifico portraying the Triumph of Fame.

I find equally interesting his painting of a Reclining Youth created to decorate the Inner lid of a Wedding Chest or Cassone in Italian. A Renaissance Cassone was a large and ornate piece of furniture made on the occasion of an important wedding and contained the bride’s trousseau. As described by Gorgio Vasari, Italian Cassoni were created for… citizens of those times (16^th century) who used to have in their apartments great wooden chests in the form of a sarcophagus, with the covers shaped in various fashions…and besides the stories that were wrought on the front and on the ends, they used to have the arms, or rather, insignia, of their houses painted on the corners, and sometimes elsewhere. And the stories that were wrought on the front were for the most part fables taken from Ovid and from other poets, or rather stories related by the Greek and Latin historians, and likewise chases, jousts, tales of love, and other similar subjects. https://collections.vam.ac.uk/item/O132970/cassone-unknown/

A common theme for the inner lid of a Cassone was the presentation of a male or female nude reclining in the entire length of the lid. These images of a private nature promoted, in most probability, fertility. The rest of the Chest’s inside was often decorated with textile patterns. Lo Scheggia’s painted panel is today exhibited in Avignon, in the Musée du Petit Palais. https://www.academia.edu/3091564/Botticelli_to_Titian_Two_Centuries_of_Italian_Masterpieces_Exhibition_catalogue_edited_by_D%C3%B3ra_Sallay_Vilmos_T%C3%A1trai_and_Axel_V%C3%A9csey_Budapest_Sz%C3%A9pm%C5%B1v%C3%A9szeti_M%C3%BAzeum_28_October_2009_14_February_2010_Budapest_Sz%C3%A9pm%C5%B1v%C3%A9szeti_M%C3%BAzeum_2009?email_work_card=view-paper page 101

For a PowerPoint on Lo Scheggia, please… Check HERE!

Sleeping Eros

December 5, 2023

by admin Ancient Greek Art Art Greek Art Hellenistic Art Mythology Sculpture Student Activities Worksheets

**Bronze statue of Eros sleeping,** 3rd–2nd century BC, Bronze, 41.9 × 35.6 × 85.2 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/254502

Attributed possibly to the archaic Greek poet Sappho, the following fragment of Greek lyric poetry is preserved by the Alexandrian Grammarian Hephaestion. It reminds me of Sleeping Eros, the beloved Hellenistic bronze statue displayed in the Metropolitan Museum of Art. The verses paint a vivid scene… The moon and the Pleiades have set, / it is midnight, / time is passing, / but I sleep alone. https://en.wikipedia.org/wiki/Midnight_poem

In Greek mythology, Eros, portrayed as the son of Aphrodite and Ares, is the god of love, desire, and attraction. Various myths and stories are associated with Eros, in which he played a prominent role in matters of love and relationships. Well-known stories involving Eros include the myths of Rhodopis and Euthynicus, Apollo and Daphne, and his own love story, the myth of Psyche—a mortal princess who became the object of his affection. All these stories explore themes of love, trust, and the trials involved in achieving fulfillment with Eros projected as a significant figure in Greek mythology.

Eros is often depicted in various poses and contexts in ancient art, usually as a mischievous and playful winged youth armed with a bow and arrows. The arrows are said to have the power to incite love or desire in those they pierce. The Sleeping Eros statue in the MET depicts, on the other hand, a young, winged infant Cupid in a relaxed, reclining position, emphasizing the peaceful and gentle aspects of the god of love.

In the realm of Hellenistic sculpture, the motif of the Sleeping Eros emerged as a captivating and symbolic representation, offering a glimpse into the nuanced artistic expressions of love and vulnerability during this period. The Hellenistic era, spanning from the death of Alexander the Great in 323 BCE to the establishment of the Roman Empire in 31 BCE, witnessed a remarkable evolution in art, marked by a departure from the rigid idealism of Classical Greece. Hellenistic period statues were known for their attention to detail, realistic anatomy, dynamic poses, naturalism in the composition, and the expression of strong emotionalism along with the introduction of the ‘genre’ and a shift in artistic sensibilities.

In the realm of Hellenistic art, ‘genre’ refers to the inclusion of everyday life scenes and common people as subjects in sculptures, paintings, and other artistic expressions. This departure from the rigid canons of Classical Greek art allowed artists to explore a wider range of emotions, experiences, and individual characteristics. The Sleeping Eros serves as a poignant manifestation of these transformations, capturing the subtleties of emotion and narrative in sculpture.

Eros is portrayed in a state of repose, inviting viewers into an intimate exploration of the deity’s more tender and human aspects. As we delve into the intricacies of the Sleeping Eros sculpture in the MET, we untangle not only the technical abilities of the Hellenistic artist who created it, but also the deeper cultural and philosophical underpinnings that inform this artistic motif. Through a lens of mythology, symbolism, and craftsmanship, the Sleeping Eros sculpture offer a captivating window into the Hellenistic worldview, where the divine and the mortal meet in a harmonious dance of form and emotion.

According to the MET experts, during the Hellenistic period… Young children enjoyed great favor, whether in mythological form, as baby Herakles or Eros, or in genre scenes, playing with each other or with pets. The MET Eros, the god of love, has been brought down to earth and disarmed, a conception considerably different from that of the powerful, often cruel, and capricious being so often addressed in Archaic poetry. One of the few bronze statues to have survived from antiquity, this figure of a plump baby in a relaxed pose conveys a sense of the immediacy and naturalistic detail that the medium of bronze made possible. He is clearly based on firsthand observation! https://www.metmuseum.org/art/collection/search/254502

For a Student Activity inspired by the MET Sleeping Eros, please… Check HERE!

Another aspect of Eros’s character and artistic representation is offered in Eros and the Bee, a February 2023 BLOG POST by Teacher Curator… https://www.teachercurator.com/art/eros-and-the-bee/

Abbey of Vézelay

November 30, 2023

by admin Art French Art Medieval Art Powerpoints

Tympanum of the Central Narthex Portal of the Abbey Church of Sainte-Madeleine at Vézelay, Top Left: Sign of Capricorn, Top Right: A seated man holding a cup of wine with the Inscription: OMNIBUS IN MEMBRIS DESIGNAT IMAGO DECEMBRIS (representing December) (marked by a blue star), circa 1120-1132, Abbey of Vézelay, Burgundy, France https://www.cieldujour.net/basilique-de-vezelay/

Shortly after its foundation in the 9th century, the Benedictine Abbey of Vézelay acquired the relics of St Mary Magdalene and since then it has been an important place of pilgrimage. St Bernard preached the Second Crusade there in 1146 and Richard the Lion-Hearted and Philip II Augustus met there to leave for the Third Crusade in 1190. With its sculpted capitals and portal, Sainte-Madeleine of Vézelay – a 12th-century monastic church – is a masterpiece of Burgundian Romanesque art and architecture. https://whc.unesco.org/en/list/84/

The Abbey of Vézelay is renowned for its exceptional aesthetic value, characterized by its stunning Romanesque architecture, intricate sculptures, and historical significance. The architectural design is a masterpiece of Romanesque art. The sculptural elements of the abbey are awe-inspiring. Elaborate carvings adorn the capitals of columns, depicting biblical scenes, figures of saints, mythical creatures, and intricate foliage. These sculptures not only showcase the artistic skill of the craftsmen but also serve as visual narratives for pilgrims, conveying religious stories and moral lessons.

**The Abbey Church of Sainte-Madeleine at Vézelay,** circa 1120-1150, Burgundy, France https://en.wikipedia.org/wiki/V%C3%A9zelay_Abbey

According to the latest interpretation of the tympanum scene the main components of the tympanum (the peoples of the world/the zodiac and months/Christ) function as the mundus/annus/homo of a Neoplatonic macro/microcosm, with the divine/human Christ in the center and the Magdalene at his feet, the purpose of which was to encourage the pilgrim to model himself or herself on Christ or on the Magdalene. https://www.journals.uchicago.edu/doi/10.1086/714579

**Tympanum of the Central Narthex Portal of the Abbey Church of Sainte-Madeleine at Vézelay (figure of Christ),** circa 1120-1132, Abbey of Vézelay, Burgundy, France https://www.basiliquedevezelay.org/agenda/?oaq%5Buid%5D=27328804

The composition presents an imposing figure of Christ with a halo, seated on a throne, surrounded by a mandorla, in a contorted pose, with His knees twisted to the right. Lines or rays of light come from his hands and go to smaller, highly agitated figures on his right and left sides, around six on each side. Most scholars read these figures as the Apostles because they’re holding books or scrolls. The figure with keys on the right side of Christ is identified as St. Peter.

**Tympanum of the Central Narthex Portal of the Abbey Church of Sainte-Madeleine at Vézelay (including the 12 Zodiac Signs),** circa 1120-1132, Abbey of Vézelay, Burgundy, France https://www.cieldujour.net/basilique-de-vezelay/

This scene, identified as the Pentecost by most scholars, is surrounded by a partial semicircle of sculpted compartments above and a fully sculpted lintel below depicting various “peoples,” including Cynocephali (people with heads resembling those of dogs), Sciritae (people with, in this case, pig-like noses), Panotii (people with extremely large ears), Pygmies, and Giants, all having their ultimate source in classical geographical and historical literature. It is these peoples, according to Dr. Conrad Rudolph, that have caused most scholars to see the portal as also referring to the Mission to convert all nations. The final part of the Tympanum Composition is an outer archivolt with 29 sculpted roundels of pictures of the 12 Zodiac Signs and 12 different Labours/Activities that happen during each month of the year. https://www.journals.uchicago.edu/doi/10.1086/714579

**Tympanum of the Central Narthex Portal of the Abbey Church of Sainte-Madeleine at Vézelay (signs for December),** circa 1120-1132, Abbey of Vézelay, Burgundy, France https://www.cieldujour.net/basilique-de-vezelay/

Today, in celebration of the Month of December, I present to you the Vézelay Zodiac Sign of Capricorn. Also, I share the scene of a banquet, where the sharing of bread and wine takes place. The symbolism of the banquet has its roots far back in the early Christian period, and celebrates the ending year and the new year, the eternal return of the cycles of heaven which ensure life on earth.

For the Vézelay pilgrims and viewers of this majestic scene, December is a month filled with energy and anticipation for the upcoming Holiday Season… Days of festivities and feasting are on the horizon. The peasants will soon complete their tasks, and they will be able to enjoy the fruits of their labour, savoring the remnants of their hard work. https://www.cieldujour.net/basilique-de-vezelay/

For a PowerPoint Presentation, please… Check HERE!

Important Articles to read… The Central Tympanum at Vézelay: Its Encyclopedic Meaning and Its Relation to the First Crusade by Adolf Katzenellenbogen, The Art Bulletin, Vol. 26, No. 3 (Sep. 1944), pp. 141-151 (15 pages) https://www.jstor.org/stable/3046949 and Macro/Microcosm at Vézelay: The Narthex Portal and Non-elite Participation in Elite Spirituality by Conrad Rudolph, Speculum, Volume 96, Number 3, July 2021 https://www.journals.uchicago.edu/doi/10.1086/714579

Gold Sandwich-Glass Vase at the Canellopoulos Museum

November 25, 2023

by admin Art Byzantine Art Byzantium Early Christian Art Powerpoints

**Bottom of a Gold Sandwich-Glass Vase with representation of a Christian Martyr,** Mid-4th century AD, Diam. 4,9 cm., Canellopoulo Museum, Athens, Greece https://camu.gr/en/item/pythmenas-amfyalou-chrysografimenou-angeiou/

The Gold Sandwich-Glass Vase at the Canellopoulos Museum in Athens is a truly rare and precious exhibit. Also referred to as Verre Églomisé, Gold Sandwich-Glass is a decorative technique with a rich history dating back to antiquity, used to craft stunning and opulent objects. The example on display at the Canellopoulos Museum stands as a unique treasure in Greece, inviting keen exploration and admiration!

Displayed at the Canellopoulos Museum in Athens, Greece, this remarkable piece is organized within a tondo, defined by concentric rings, and embellished with gold leaf in the space between the innermost pair. The composition takes on a triangular form, exhibiting simplicity, stability, and balance. Positioned at the very center of the tondo is a male figure, devoid of a beard but adorned with a luminous halo. In his lowered right hand, he clasps a palm branch, a Christian symbol of victory over death, while his left hand extends upward in a gesture of acclamation. The figure, portrayed in a strikingly naturalistic manner, stands upright and is flanked by laurel bushes on either side. The combination of brown hues and gold against a background of transparent glass creates an aethereal, and delicate composition, suitable for a religious shallow bowl (phiale).

According to Constantine Scampavias, the Canellopoulos Museum expert… Although the piece is not inscribed, the halo and the palm branch (as well as the two bushes if they are laurels) identify the figure as a Christian martyr. Perhaps it is the martyr Gereon, whose cult was widespread in the Rhineland and particularly in Cologne, where this bowl was possibly made. https://camu.gr/en/item/pythmenas-amfyalou-chrysografimenou-angeiou/

The Gold Sandwich-Glass technique was particularly popular throughout the Roman Empire during the 4^th 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 cemented 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 Sandwich-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.112-120https://webarchive.nationalarchives.gov.uk/20190801105206/https://www.britishmuseum.org/research/publications/research_publications_series.aspx#AllResearchPublications

For a PowerPoint on 10 artifacts of Gold Sandwich-Grass, please… Check HERE!

A Teacher Curator POST, on another famous Gold Sandwich-Glass roundel, titled Portrait Medallion of Gennadios… https://www.teachercurator.com/uncategorized/portrait-medallion-of-gennadios/?fbclid=IwAR2gufFAvOMcFrz9j2sGH55wP-ajBQUA4ELpGgXpTpp-SRTXMIzyr0GUVTw

A wonderful Video on the Gold Sandwich-Glass making technique created by the Corning Museum of Glass https://www.youtube.com/watch?v=ALNMn6DGQJg

Meissen Porcelain for Thanksgiving

November 22, 2023

by admin 18th century Art Art Powerpoints Rococo

**Meissen Porcelain Manufactory**, active 1710 – present, Dresden, Germany
Modelled by Johann Joachim Kändler, 1706 – 1775
**A Turkey**, 1733, white glazed hard-paste porcelain, 53.5 × 51 × 20 cm, the Getty Museum, CA, USA
https://www.getty.edu/art/collection/object/108XV1

In Meissen’s porcelain menagerie, each bird or animal whispers tales of craftsmanship and elegance… In my latest BLOG POST titled Meissen Porcelain for Thanksgiving, I am excited to present the 1733 Meissen menagerie life-size model featuring the iconic Thanksgiving Bird!

Its head half-turned to its right, with incised eyes, an extended drooping comb suspended from the curved upper beak, the neck with deeply incised wrinkled skin, its overlapping short rounded body-feathers each with a raised central spine and incised spines covering its plump breast and back, its wings with long divided wing feathers falling to the ground and partially obscuring its three-clawed feet, the raised humped back terminating in its displayed fan-shaped tail with two tiers of radiating feathers, with a short forked tail below, supported on a circular rockwork base applied with moss and plants with short broad leaves… This is how Christie’s experts describe the 1733 life-size white model of a turkey-cock created at the Meissen porcelain factory, by master sculptor Johann Joachim Kändler. https://www.christies.com/en/lot/lot-3933086

Kändler’s Model of a Turkey was one of many animals and birds—ranging from exotic birds to fierce dogs and elephants—that were created for the foremost 18th-century collector of oriental porcelain: Augustus the Strong, elector of Saxony and king of Poland, who was also the founder of the Meissen porcelain factory. In the early 1720s, just a little over a decade since the establishment of the Meissen factory in 1710, Augustus the Strong, captivated by the beauty of porcelain, envisioned a life-size porcelain menagerie for his Japanese Palace in Dresden. He was by far the greatest collector of Chinese and Japanese porcelain, what he was missing was a breathtaking assemblage of porcelain produced by his own factory at Meissen. His dream was put into practice in 1728, and by 1735, it had become a reality.

**Nicolas de Largillierre,** 1656–1746
**Augustus the Strong, Elector of Saxony and King of Poland**, 1714–15, Oil on Canvas, The Nelson-Atkins Museum of Art, Kansas City, Missouri, USA https://art.nelson-atkins.org/objects/16759/augustus-the-strong-elector-of-saxony-and-king-of-poland

According to Christie’s experts… Two principal modellers were involved in this huge undertaking: Johann Gottlieb Kirchner and Johann Joachim Kändler. The latter became Kirchner’s successor and a major figure in the history of Meissen. Kändler’s skill was to breathe life into the models and give them a sense of dynamic movement, and his work is still very much admired by collectors. https://www.christies.com/en/stories/a-guide-to-collecting-meissen-porcelain-50def5394a5a4f6d8efaf91756720072

Johann Joachim Kändler’s importance as an artist at the Meissen porcelain factory lies in his pioneering artistry, diverse artistic contributions, innovative designs and techniques, collaborations and partnerships, royal patronage, and enduring legacy within the realm of porcelain art. Kändler was known for his exceptional ability to depict animals or birds, like the white life-size Turkey model, with a high degree of naturalism and accuracy. His menagerie models captured the essence of various creatures in a lifelike and realistic manner. This naturalistic representation showcased his mastery of form, anatomy, and attention to detail.

He is also known for his attention to detail and realism. The menagerie models he created were meticulously crafted, paying careful attention to the intricate details of each animal. From the texture of feathers and fur to the expressions on their faces, Kändler’s models displayed a remarkable level of realism, featuring dynamic and expressive poses, and capturing the animals in various states of movement or repose. These dynamic poses added vitality and energy to the models, making them visually engaging and captivating.

The use of porcelain as the medium for these models added to their aesthetic allure. Porcelain, with its smooth texture, translucency, and delicate nature, provided a perfect canvas for Kändler to showcase his artistic vision. The whiteness of the porcelain allowed for intricate painting and detailing, enhancing the overall aesthetic quality of the menagerie models. Kändler’s models were not only aesthetically appealing but also held cultural and historical significance. They were reflective of the 18th-century European fascination with the natural world and the desire to bring aspects of the natural world into the realm of art and decoration.

If Meissen’s animal porcelain figurines tell us stories in delicate forms… Kändler’s models of animals and birds showcase artistic brilliance and significantly contribute to the world of porcelain art.

Happy Thanksgiving Day!

Give thanks for each new morning with its light, / For rest and shelter of the night. / For health and food, / For love and friends, / For everything they goodness sends… (Ralph Waldo Emerson, 1803-1882)

Please… Check HERE! for the Meissen Porcelain for Thanksgiving PowerPoint, titled The Meissen Managerie: 10 Outstanding Examples!

A May 17, 2023 Video, titled Meissen Porcelain Animals: Getty Conversations by Smarthistory… https://www.khanacademy.org/humanities/renaissance-reformation/xa6688040:central-and-eastern-european-in-the-17th-18th-century/xa6688040:central-and-eastern-european-art-in-the-17th-18th-century/v/meissen-porcelain-animals-getty-conversations

Spedale degli Innocenti in Florence

November 19, 2023

by admin Art Italian Renaissance Art Powerpoints

Designed by **Filippo Brunelleschi,** 1377-1446
**Spedale degli Innocenti,** Construction: 1417-1436 – Inauguration: 1445, Piazza della Santissima Annunziata, Florence, Italy https://it.wikipedia.org/wiki/Spedale_degli_Innocenti
**Andrea della Robbia,** 1435-1525
**Infant in Swaddling Clothes,** 1487, glazed terracotta, Diameter about 100 cm, Ospedale degli Innocenti, Piazza della Santissima Annunziata, Florence, Italy https://smarthistory.org/andrea-della-robbia-bambini-ospedale-degli-innocenti/

…Mothers, fathers, teachers, nurses, doctors, government leaders, civil society activists, religious and community elders, corporate moguls, media professionals, and even young people and children themselves all have a crucial role to play in making World Children’s Day meaningful within their societies, communities, and nations… In 1954, the United Nations designated the 20th of November as World Children’s Day, aiming to enhance children’s welfare, foster international unity, and raise awareness among children worldwide. …World Children’s Day provides each of us with an inspirational starting point to advocate for, promote, and celebrate children’s rights. This significant celebratory day is described in this manner by the United Nations… The Spedale degli Innocenti in Florence, an architectural masterpiece designed by Filippo Brunelleschi, holds historical significance as the first Renaissance orphanage, serving as a testament to Florence’s compassion and care for innocent children. In honor of this important UN Day, today’s BLOG POST will serve as my humble contribution. https://www.un.org/en/observances/world-childrens-day

Filippo Brunelleschi (1377-1446) was an Italian Renaissance architect, engineer, and designer, known for his innovative contributions to architecture and engineering during the 15th century. He is considered one of the founding fathers of Renaissance architecture and played a crucial role in the development of perspective in painting and the use of linear perspective in architectural design.

Inspired by classical Roman architectural designs, Ospedale degli Innocenti, the Hospital of the Innocents (meaning innocent children), also known in the old Tuscan dialect as the Spedale degli Innocenti, is Brunelleschi’s first Renaissance architectural achievement. Constructed between 1419 and 1445, Ospedale was commissioned by the Arte della Seta (Silk Guild) or the Silk Merchants’ Guild, a powerful economic and cultural organization in Florence.

The purpose of the Ospedale degli Innocenti was to serve as an orphanage and foundling hospital, providing care and support for abandoned or orphaned children. The name “Innocenti” emphasizes the institution’s focus on providing care and support to the most vulnerable members of society—orphans and abandoned infants.

If the construction and establishment of the Ospedale degli Innocenti showcased a significant social and cultural development, representing the burgeoning Renaissance ideals of compassion, and humanism, Brunelleschi’s architectural design reflected the changing Renaissance aesthetic and laid the foundation for the Renaissance architectural style that followed. For example, by incorporating classical elements and proportions inspired by ancient Roman and Greek architecture, the building’s facade displayed a harmonious and balanced arrangement of columns, arches, and pilasters, showcasing the influence of classical design principles. Ospedale’s facade is characterized by its symmetrical layout, while its arcades and loggias add elegance and an open design. Thus, Brunelleschi’s building exhibits a sense of equilibrium and balance, a hallmark of Renaissance design influenced by classical ideals.

Let’s not forget how Vasari describes Brunelleschi’s sojourn to Rome and his meticulous investigation of the city’s ancient ruins. Vasari recalls how the artist did not apparently rest …until he had drawn every sort of building–round, square, and octagonal temples, basilicas, aqueducts, baths, arches, colosseum, amphitheaters, and every temple built of bricks, from which he copied the methods of binding and of clamping with ties, and also of encircling vaults with them; and he noted the ways of making buildings secure by binding the stones together by iron bars, and by dovetailing… He then distinguished the different Orders one from another–Doric, Ionic, and Corinthian; and so zealous was his study that his intellect became very well able to see Rome, in imagination, as she was when she was not in ruins. https://filippobrunelleschifacts.tumblr.com/post/109790232722/vasaris-lives-of-the-artists-life-of

Spedale degli Innocenti is the ‘canvas’ of yet another great master of Italian Renaissance art, that is Andrea della Robbia. In 1487, according to Dr. Rachel Boyd, Andrea della Robbia was hired to fill the loggia’s roundels (Brunelleschi’s design intentionally left the roundels on the loggia facade unadorned) with colorful works of art. Described as bambini di terra (“babies made of clay”) in an original payment record, these high-relief sculptures were made in glazed terracotta, a distinctive medium that was the signature of the Della Robbia family workshop. https://smarthistory.org/andrea-della-robbia-bambini-ospedale-degli-innocenti/

**Andrea della Robbia,** 1435-1525
**Infant in Swaddling Clothes,** 1487, glazed terracotta, Diameter about 100 cm, Ospedale degli Innocenti, Piazza della Santissima Annunziata, Florence, Italy https://smarthistory.org/andrea-della-robbia-bambini-ospedale-degli-innocenti/

The Della Robbia roundels in the Ospedale degli Innocenti are celebrated for their artistic beauty, mastery of ceramic technique, and their contribution to the visual identity of one of Florence’s historic landmarks. The babies are rendered with a remarkable degree of realism and naturalism. The facial features, anatomy, and proportions of the infants are meticulously crafted, displaying a lifelike quality that adds to their charm and appeal. Their cherubic faces and gentle expressions convey a sense of innocence and serenity, evoking a feeling of tenderness and care.

I could easily add that the artistic qualities of the depicted babies in Andrea della Robbia’s glazed terracotta roundels include a blend of realism, expressive features, symbolism of childhood, and a mastery of the glazed terracotta technique, resulting in a timeless and captivating representation of infancy and innocence. What an achievement!

For a PowerPoint on Brunelleschi’s Oeuvre, please… Check HERE!

Bibliography: https://www.museodeglinnocenti.it/en/ and https://www.artesvelata.it/ospedale-portico-innocenti-brunelleschi/ and https://www.istitutodeglinnocenti.it/en/about-us/history

The Arts of the Romanesque Period

November 16, 2023

by admin Art Education Medieval Art Powerpoints Social Studies

**Abbey of Sainte-Foy,** c. 1050–1130, Conques, France
**Reliquary statue of Sainte-Foy (Saint Faith),** late 10th to early 11th century, gold, silver gilt, jewels, and cameos over a wooden core, 85.09 cm, Treasury, Abbey of Sainte-Foy, Conques, France
https://smarthistory.org/church-and-reliquary-of-sainte%E2%80%90foy-france/

The Romanesque Period, spanning roughly from the 11th through the 12th century in Europe, was characterized by a distinct style of art (in sculpture and painting) and architecture. During this time, the construction of massive, fortress-like buildings with thick stone or stone-and-brick walls was prevalent. Rounded arches, barrel and groin vaults, and small, often semicircular windows were common architectural features. Romanesque art and architecture were marked by an emphasis on symmetry, simplicity, and sculptural decoration, particularly on church facades. These structures, often adorned with intricate stone carvings depicting religious and historical scenes, were designed to inspire and educate the largely illiterate medieval populace. The Romanesque style was closely associated with the power and influence of the Christian Church, but it also found expression in secular structures like castles. It eventually evolved into the more elaborate and vertical Gothic style, but the Romanesque period remains a testament to the medieval European quest for stability, security, and spiritual enlightenment.

Architecture

Romanesque architecture is often associated with the construction of churches and monastic buildings, reflecting the strong influence of the Christian Church during this period. However, the style was also used in the construction of castles, bridges, and other secular structures. It eventually gave way to the Gothic style, which introduced more complex and innovative architectural elements, such as pointed arches, flying buttresses, and larger stained-glass windows. Romanesque art and architecture remain an important part of Europe’s cultural heritage and a testament to the creative and architectural achievements of the medieval period.

Here are key characteristics of Romanesque architecture… Thick, massive walls: Romanesque buildings are known for their thick and sturdy walls, which often incorporate a combination of stone and brick. These walls provided stability and a sense of security, which was important during a period marked by political and social instability. Rounded arches: Romanesque architecture typically features rounded arches, both in doorways and windows. This contrasts with the later Gothic style, which is known for its pointed arches. Barrel vaults and groin vaults: Romanesque churches often have barrel vaults in their naves and aisles, with thick columns or piers supporting the ceiling. In some cases, groin vaults (intersecting barrel vaults) were used, which allowed for larger, more open spaces. Symmetry and order: The Romanesque church plan reflects a desire for symmetry and order, with a focus on creating a sacred space conducive to worship and religious rituals. The cruciform layout, combined with elements like thick walls, rounded arches, and decorative carvings, contributes to the overall solidity and spiritual significance of Romanesque architecture.

Sculpture

Romanesque sculpture, a prominent aspect of the Romanesque period’s artistic expression, is characterized by its highly ornate and intricate stone carvings. These sculptures adorned the facades, portals, and interior spaces of Romanesque churches and other buildings, serving both decorative and didactic purposes.

Key features of Romanesque sculpture include… Religious Themes: Romanesque sculpture predominantly featured religious subjects, such as biblical narratives, saints, and religious symbols. These carvings aimed to convey Christian teachings to an often illiterate medieval audience. Portals and Tympana: One of the most significant areas for Romanesque sculpture was the tympanum, the semicircular space above a church’s entrance. Here, intricate scenes from the Bible, such as the Last Judgment or the Nativity, were depicted in detail. Capital Sculpture: Sculpted capitals, found on the columns or piers within churches, were another prominent location for Romanesque sculpture. These carvings often portrayed various scenes and figures, both religious and secular, and were known for their expressive and stylized designs. Symbolism: Romanesque sculpture was rich in symbolism, with each element carefully chosen to convey a deeper message. For example, animals, grotesque figures, and intricate foliage were often used to represent moral lessons and the struggle between good and evil. Stylized Figures: The figures in Romanesque sculpture often exhibited a certain stiffness and formality, with elongated proportions and simplified facial features. This reflected the artistic conventions of the time and was influenced by the Byzantine and Carolingian traditions.

Romanesque sculpture played a vital role in conveying religious and moral messages to a largely non-literate medieval population. It also demonstrated the artistic and creative achievements of the period, setting the stage for the more dynamic and naturalistic sculptural traditions that emerged in the subsequent Gothic period.

For a PowerPoint on French Romanesque Art, please… Check HERE!

Bibliography: https://smarthistory.org/a-beginners-guide-to-romanesque-art/ and https://smarthistory.org/medieval-europe-byzantium/romanesque-art-2/