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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/

Achelous and Hercules

November 9, 2023

by admin 20th century Art American Art Art Mythology Powerpoints

**Thomas Hart Benton,** American Artist, 1889-1975
**Achelous and Hercules (and detail),** 1947, Tempera and Oil on Canvas mounted on plywood, 159.6 x 671.0 cm, Smithsonian American Art Museum, Washington DC, USA https://narrativepainting.net/thomas-hart-benton-achelous-and-hercules-1947/

The myth of the fight between Achelous and Hercules is a captivating tale from Greek mythology. In this legend, Achelous, an ancient Greek river god, transforms into various shapes during his battle with Hercules in an attempt to defeat the hero and win the hand of Deianira, the beautiful Calydonian princess. Despite his shapeshifting abilities, Achelous is ultimately outmatched by Hercules, who manages to break off one of the river god’s horns. This horn becomes the Cornucopia, or the “Horn of Plenty,” symbolizing abundance and nourishment. The myth highlights Hercules’ strength and resourcefulness, as well as the enduring theme of divine contests and transformations in Greek mythology.

Ovid’s narrative in Book 9 of the Metamorphoses provides a detailed account of this myth, including the transformations of Achelous and his fateful battle with Hercules. Who wants to recall the battles he has lost? The great river God tells Theseus, the Athenian hero… But, I will tell it as it happened: since the shame of being beaten is no less than the honour of having fought. It is a great consolation to me that the victor was so famous… Ovid, a prominent Roman poet who lived during the 1st century BC, is known for his retelling of various Greek and Roman myths. He became famous and influential in preserving and popularizing these ancient stories. https://ovid.lib.virginia.edu/trans/Metamorph9.htm#483366540

**Thomas Hart Benton,** American Artist, 1889-1975
**Achelous and Hercules (and details),** 1947, Tempera and Oil on Canvas mounted on plywood, 159.6 x 671.0 cm, Smithsonian American Art Museum, Washington DC, USA https://narrativepainting.net/thomas-hart-benton-achelous-and-hercules-1947/

In 1947 American artist Thomas Hart Benton was hired by Lester Siegel Sr., proprietor of Kansas City’s Harzfeld department store, to decorate the wall above the store’s elevator area. Benton settled on a retelling of the Achelous and Hercules myth from ancient Greece, setting it in present-day Missouri. The artist viewed this legend as a parable of his beloved Midwest. The Army Corps of Engineers had begun, at the time, efforts to control the Missouri River, and Benton imagined, and depicted, a future where the waterway was tamed, and the earth swelled with robust harvests. https://ovid.lib.virginia.edu/trans/Metamorph9.htm#483366540 and https://narrativepainting.net/thomas-hart-benton-achelous-and-hercules-1947/

**Photo Portrait of Thomas Hart Benton** and **Photo of his Studio** from ‘The OFFICIAL Facebook page for the Thomas Hart Benton Home and Studio State Historic Site in Kansas’ https://www.facebook.com/ThomasHartBentonHomeandStudioSHS

The artwork features a dynamic and muscular Hercules wrestling Achelous, who is depicted as a ferocious bull. Benton’s composition is characterized by bold, exaggerated forms and a strong sense of movement, which is a hallmark of his unique approach to storytelling through art. This painting is a prime example of the artist’s ability to fuse classical themes with the American experience, creating a powerful and visually compelling narrative.

**Thomas Hart Benton,** American Artist, 1889-1975
**Achelous and Hercules (detail),** 1947, Tempera and Oil on Canvas mounted on plywood, 159.6 x 671.0 cm, Smithsonian American Art Museum, Washington DC, USA https://narrativepainting.net/thomas-hart-benton-achelous-and-hercules-1947/

In Achelous and Hercules, Benton not only showcases his technical prowess but also his deep appreciation for the human struggle and the mythological underpinnings that resonate with American themes of strength and determination. The painting stands as a testament to Benton’s skill in merging classical and contemporary elements, and it remains a significant piece in the realm of American art history.

Thomas Hart Benton was a prominent American artist known for his contributions to the American Regionalist movement in the early to mid-20th century. Born in Neosho, Missouri, in 1889, Benton’s work is characterized by its celebration of everyday life in rural America. He was a master of capturing the essence of the American heartland through his vivid and dynamic paintings, often depicting scenes of farmers, laborers, and small-town life. Benton’s art not only showcased his exceptional technical skill but also conveyed a deep sense of patriotism and a connection to the working-class people he portrayed. His distinctive style combined elements of European modernism with a uniquely American perspective. Benton’s legacy lives on as his art continues to be celebrated for its evocative storytelling and its role in shaping the American art landscape.

For a PowerPoint on Thomas Hart Benton’s oeuvre, please… Check HERE!

The Merovingian Dynasty

November 3, 2023

by admin Art French Art Medieval Art Powerpoints Social Studies

**Augustinus Hipponensis, Quaestiones et locutiones, Heptateuchum, livres I-IV,** 8th century. (around 750-770?), Cv-1r, Illuminated Manuscript, 305 x 220 mm, BnF, ms. Latin 12168, France https://archivesetmanuscrits.bnf.fr/ark:/12148/cc34697k and https://www.medieval.eu/the-merovingian-times/

Once upon a time, in the ancient land of the Franks, there lived a great warrior named Merovech. Merovech was no ordinary man; he had a legendary tale woven into the very fabric of his being. His mother was the Queen of the Franks, An intelligent and powerful woman, who held a mysterious secret… One day, as she wandered along the shores of the great sea, a magnificent sea monster named ‘Quinotaur’ appeared before her. This creature was unlike anything she had ever seen, with shimmering scales and gentle eyes. They spent joyful days together, swimming in the sea, sharing stories and laughter. Their coming together brought forth the child Merovech, a blend of both sea and land, destined for greatness. He became the founder of The Merovingian Dynasty of the Francs, strong and wise. His legacy lived on through generations, becoming a testament to the magical love that had once graced the land and the sea. (my own presentation of the Merovingian legend)

So, let’s explore the ‘who,’ ‘how,’ and ‘what’ of the Merovingian Dynasty by answering some questions!

‘Who’ were the Merovingians and ‘What’ defined their dynasty? The Merovingians were a dynasty of Frankish kings that ruled over a significant portion of what is now modern-day France and parts of Germany from the 5th to the 8th centuries. They were named after Merovech, a semi-legendary figure who was thought to be their ancestor.

The dynasty was founded by Merovech’s son, Childeric I, and expanded by his son Clovis I, who is credited with uniting the Franks and converting to Christianity, specifically to Catholicism. Under Clovis I and subsequent Merovingian kings, the dynasty expanded its territory through military conquests, incorporating various Germanic and Gallo-Roman regions. The Merovingian kings were initially strong warriors but later became somewhat figurehead rulers due to a system of decentralization, where local rulers and nobles gained significant autonomy. This led to a weakened central authority. Over time, the dynasty faced internal strife, infighting, and challenges from other Frankish noble families. The decline of the Merovingian Dynasty ultimately paved the way for the rise of the Carolingians, with Charlemagne becoming a central figure in consolidating power and reuniting much of Western Europe.

‘What’ historical and archaeological evidence supports the early history of the Merovingians? The early history of the Merovingians is primarily supported by a combination of historical texts, archaeological findings, numismatic evidence (coinage), and contemporary accounts from neighboring cultures. For instance, works like “Historia Francorum” by Gregory of Tours, a bishop and historian, provide valuable historical accounts of the Merovingian Dynasty, including the reigns of various Merovingian kings and important events during their rule. Additionally, “Fredegar’s Chronicle,” compiled by an anonymous Frankish chronicler known as Fredegar, covers the history of the Franks and the Merovingian Dynasty, offering insights into their early history and political developments.

Diplomatic communications between Merovingian rulers and other contemporary powers, such as Byzantine emperors and popes, provide historical context and shed light on their political relationships, alliances, and conflicts, while Ecclesiastical Documents from the Merovingian period provide information on religious practices, conflicts, and the influence of Christianity on the Merovingian rulers and society. By synthesizing information from these sources, historians construct a comprehensive understanding of the early history of the Merovingians and their contributions to the development of medieval Europe.

Numismatic Evidence, particularly coins minted during the Merovingian era, offers information about their political and economic activities, rulership, and trade relations with neighboring regions. The design, inscriptions, and use of different metals provide insights into their economy and society.

Finally, archaeological excavations of religious sites, graveyards, and tombs associated with the Merovingian period provide valuable insights into their society, beliefs, culture, and burial practices. The discovery of artifacts, grave goods, and the architecture of these tombs helps in understanding their beliefs and social structure. Excavations of royal residences, on the other hand, provide clues about the lifestyle, architecture, and level of sophistication of the Merovingian elite. These sites reveal aspects of governance, art, and material culture.

‘How’ did the arts and culture flourish during the time of the Merovingian Dynasty? During the time of the Merovingian Dynasty, spanning from the 5th to the 8th centuries, arts and culture experienced a distinctive evolution and expression within the Frankish Kingdom. However, it’s important to note that the available historical evidence regarding the arts and culture of this period is relatively limited compared to later medieval periods.

The artistic style during the Merovingian era was influenced by a blend of Germanic, Roman, and early Christian artistic traditions. The Merovingians adopted certain Roman artistic elements, such as architectural designs, while incorporating their own unique styles and themes. For instance, churches and monastic complexes showcased a fusion of Roman architectural features and Germanic influences, often displaying simple designs, rounded arches, and timber construction.

Intricate metalwork, especially in the creation of jewelry like brooches and buckles, held significant artistic value. These pieces often boasted elaborate patterns, filigree work, and the use of gemstones. Additionally, though the number of surviving illuminated manuscripts from this era is limited, some notable examples exist. Manuscripts, typically religious in nature and including Gospel books and psalters, were adorned with colorful illuminations and decorated initials.

In conclusion, the arts and culture flourished during the time of the Merovingian Dynasty, showcasing a unique blend of Germanic, Roman, and early Christian artistic influences. Despite the limitations in available historical evidence, the Merovingians left a lasting legacy through intricate metalwork, expressive jewelry designs, distinctive architectural styles in religious structures, and the production of illuminated manuscripts adorned with vibrant illuminations. These cultural and artistic achievements reflect the dynamic evolution and creative expression within the Frankish Kingdom during the Merovingian era from the 5th to the 8th centuries.

For a PowerPoint on Merovingian Art, please… Check HERE!

Bibliography: The Oxford Handbook of the Merovingian World, edited by Bonnie Effros, and Isabel Moreira, published on the 8^th of October, 2020 https://books.google.gr/books?hl=el&lr=&id=xST3DwAAQBAJ&oi=fnd&pg=PP1&dq=The+Merovingian+Dynasty&ots=zyZ-N5vg-x&sig=TvAontTndZCF2UAkmxsmpawr97Q&redir_esc=y#v=onepage&q=The%20Merovingian%20Dynasty&f=false, https://www.oxfordbibliographies.com/display/document/obo-9780199920105/obo-9780199920105-0095.xml, https://gallica.bnf.fr/html/und/histoire/les-temps-merovingiens?mode=desktop and https://academic-accelerator.com/encyclopedia/merovingian-art-and-architecture

November First

October 31, 2023

by admin 20th century Art American Art Art Powerpoints

**Andrew Wyeth,** American Artist, 1917-2009
**November First,** 1950, Watercolour on Paper mounted on Paperboard, 55.2 x 75.4 cm, Smithsonian American Art Museum, Washington DC, USA https://americanart.si.edu/artwork/november-first-32150

Let me quote Andrew Wyeth… I prefer winter and fall, when you feel the bone structure of the landscape – the loneliness of it, the dead feeling of winter. Something awaits beneath it, the whole story doesn’t show… and introduce to you November First, a landscape of loneliness, decay, and renewal. https://www.theartstory.org/artist/wyeth-andrew/

Andrew Wyeth (1917-2009) was a highly acclaimed American artist known for his realistic and detailed paintings, primarily in a style known as American Realism. He was born in Chadds Ford, Pennsylvania, and was the youngest of the five children of the well-known illustrator and artist N.C. Wyeth. He gained widespread recognition for his works that often depicted the rural landscapes and people of Pennsylvania and Maine. He had a deep connection with the natural world, which was reflected in his art. Some of his most famous works include Christina’s World, a haunting and iconic painting depicting a young woman lying in a field, and the Helga Testorf series, which portrayed a German model and became a subject of much interest and controversy.

The artist masterfully captured for example, textures, surfaces, and subtle variations in light and shadow, creating a sense of hyper-realism in his paintings. His work centered around nature, landscapes, and rural scenes showing a deep appreciation for the natural world and often depicting it with great accuracy and sensitivity. He preferred a subdued and muted colour palette, typically using earth tones, greys, and muted greens. This choice of colours and the interplay of light and shadow in his paintings contributed to the quiet and contemplative mood of his works, evoking a sense of isolation, solitude, and introspection, quiet contemplation, and emotional depth. Depicting scenes and characters from rural America, Wyeth managed to capture the essence of American rural life, and portray its beauty, simplicity, and the passing of time.

Wyeth primarily used two main painting techniques, egg tempera and watercolour. Egg tempera involves mixing pigment with a water-soluble binder made from egg yolk, resulting in a luminous and finely detailed surface. Watercolour, on the other hand, allowed for a more fluid and transparent approach.

Created in 1950, November First is a watercolour painting on paper mounted on paperboard. Part of the Smithsonian American Art Museum, Wyeth’s painting depicts tattered cornstalks in a harvested field, and captures the cold damp of late autumn, portraying the inevitable cycles of decay and renewal… The cornfield shown in this watercolor was located near his studio in Chadds Ford, behind the house of Dr. Margaret Handy, the pediatrician who cared for Wyeth’s two children. https://americanart.si.edu/artwork/november-first-32150

Employing a subdued and muted colour palette that resonates with the November scenery, shades of ochre, gray, muted greens, and hints of blue, dramatic contrasts of light and shadow, and a range of brushwork techniques in watercolour, including washes, and drybrush, Wyeth created a painting that evokes the distinct feelings associated with the month of November. His composition is simple yet elegant, focusing on the beauty and essence of the seasonal landscape, emphasizing a sense of quietude, contemplation, and peacefulness often associated with late autumn and winter.

For a PowerPoint presentation, please… Check HERE!

Peter McIntyre’s Paintings of the Battle of Crete

October 27, 2023

by admin 20th century Art Art Powerpoints Social Studies

**Peter McIntyre**, Artist from New Zealand, 1910-1885
**The Barge from Crete**, 1941, Oils on Canvas, 746 x 635mm, New Zealand Archives.
https://nzhistory.govt.nz/media/photo/the-barge-crete-peter-mcintyre

It began just after dawn on 20 May 1941. Many of the 7700 New Zealand soldiers stationed on Crete were finishing breakfast when hundreds of German transport aircraft – some towing gliders – rumbled in over the Mediterranean island. The air above was suddenly filled with parachutes as thousands of elite German paratroops began to descend from the sky. This was the start of what is known as the Battle for Crete. For 12 dramatic days New Zealanders, British, Australian, and Greek troops, assisted by Cretan civilians, tried to repel a huge airborne assault by the Germans. They almost succeeded. Peter McIntyre’s Paintings of the Battle of Crete provide a visual record of the events and scenes during the Battle of Crete. As an official war artist, McIntyre had the unique opportunity to witness the battle firsthand and capture its moments on canvas. These paintings serve as a historical document that helps us better understand the conditions, landscapes, and experiences of those involved in the battle. https://nzhistory.govt.nz/war/the-battle-for-crete/overview

Peter McIntyre (1910–1995) was a notable New Zealand artist known for his landscapes and depictions of rural scenes. He gained recognition for his ability to capture the natural beauty of New Zealand’s landscapes and the unique qualities of its light. McIntyre was born in Dunedin, New Zealand, and he displayed artistic talent from a young age. He attended the Dunedin School of Art and later studied at the Elam School of Fine Arts in Auckland. His early works were influenced by the Regionalist movement, which aimed to capture the essence of New Zealand’s unique landscapes and culture.

**Self-portrait of Peter McIntyre**
*https://www.ww2wrecks.com/portfolio/1941-the-battle-for-mainland-greece-and-crete-through-the-paintings-of-peter-mcintyre-from-new-zealand*

One of McIntyre’s significant accomplishments was his role as an official war artist during World War II. He was attached to the New Zealand Expeditionary Force and documented the experiences of New Zealand forces in various theaters of war, including Crete, North Africa, and Italy. McIntyre’s artistic contributions during this time were significant and provided a visual record of the war and its impact on the troops.

In Crete, McIntyre accompanied New Zealand forces during the Battle of Crete in 1941. He witnessed the intense fighting and documented the events through his paintings. McIntyre’s artwork from Crete captured the rugged terrain, the chaos of battle, and the resilience of the soldiers involved. His paintings conveyed the human side of war and reflected the courage, determination, and sacrifices made by the New Zealand forces.

**The Blitz, Canea Crete area defended by New Zealanders,** May 1941, Oils, 625 x 740mm, Archives New Zealand https://www.archives.govt.nz/images/the-blitz-canea-crete-area-defended-by-nz-ers-new-zealanders-may-1941

McIntyre’s artistic interpretation of the battle brings a unique perspective to the historical narrative. His choices in composition, lighting, and focal points add an artistic layer to the historical record, encouraging viewers to engage with the events on both an intellectual and emotional level.

My favorite McIntyre painting of the Battle for Crete is titled The Barge from Crete! It illustrates, according to the New Zealand History Archives experts, the epic journey of a group of escapees who sailed an abandoned landing barge from Crete to Egypt. The 137-strong party, mostly Royal Marines, set out on 1 June. Nine New Zealanders were thought to be among this party, although the only one known by name was Private W.A. Hancox. He had been picked up 3 km offshore, paddling along on a plank of wood. https://nzhistory.govt.nz/media/photo/the-barge-crete-peter-mcintyre

After the barge’s fuel ran out blankets were rigged as sails. To make sure these caught the breeze the men often had to jump into the water and push the nose of the barge in the right direction. Conditions on board were tough. Food supplies were rationed to half a tobacco tin of water and a teaspoon of bully beef per day. During the voyage, one soldier died of exhaustion, and another committed suicide. On 9 June, eight days after leaving Crete, the barge drifted ashore 24 km west of Sidi Barrani in Egypt. https://nzhistory.govt.nz/media/photo/the-barge-crete-peter-mcintyre

Peter McIntyre’s paintings of the Battle of Crete are important as they combine historical documentation, personal perspective, emotional impact, artistic interpretation, and cultural memory. They help us remember, learn from, and emotionally engage with this significant moment in history.

For a PowerPoint of Peter McIntyre’s Paintings of the Battle of Crete, please… Check HERE!

Emperor Gaius Galerius Valerius Maximianus

October 24, 2023

by admin Art Powerpoints Roman Art Sculpture

**Portrait of the Emperor Galerius from an over life-sized statue,** 310 AD, 27×17,9 cm, Canellopoulos Museum, Athens, Greece https://camu.gr/en/item/portraito-tou-aftokratora-galeriou/

…Constantius and Galerius were made emperors; and the Roman world was divided between them in such a manner, that Constantius had Gaul, Italy, and Africa; Galerius Illyricum, Asia, and the East… Galerius, a man of excellent moral character, and skillful in military affairs, finding that Italy, by Constantius’s permission, was put under his government, created two Caesars, MAXIMIN, whom he appointed over the east, and SEVERUS, to whom he committed Italy. He himself resided in Illyricum… wrote Eutropius in Book X of Abridgement of Roman History about Emperor Gaius Galerius Valerius Maximianus. https://www.forumromanum.org/literature/eutropius/trans10.html

In the Epitome De Caesaribus, a booklet about the Style of Life and the Manners of the Imperatores, sometimes attributed to Sextus Aurelius Victor, Emperor Galerius is described as …possessed of an uncultivated and rustic justice…he was, however, the author continues, praiseworthy enough, physically attractive, a skilled and fortunate warrior, sprung from country parents, a keeper of cattle, whence for him the cognomen Armentarius [“Herdsman”]. 16. He was born and also buried in Dacia Ripensis, a place which he had called Romulianum from the name of his mother, Romula. 17. He insolently dared to affirm that, in the fashion of Olympias, the mother of Alexander the Great, his mother had conceived him after she had been embraced by a serpent. http://roman-emperors.sites.luc.edu/epitome.htm

Living in Thessaloniki, where numerous buildings and structures commissioned by Galerius still grace the cityscape, serving as popular attractions, I find it necessary to introduce you to Emperor Gaius Galerius Valerius Maximianus, commonly referred to as Galerius. He held the position of Roman Emperor within the Tetrarchy system, a governance framework established by Emperor Diocletian, which partitioned the Roman Empire into four co-ruling territories. Galerius, during his rule as Augustus from 305 to 311 AD, gained renown for his multifaceted role within the Tetrarchy, his involvement in the Christian persecutions of the early 4th century, and his military campaigns waged against the Sassanid Empire and hostile Danube frontier tribes.

**From the Octagon in the Palace of Galerius in Thessaloniki: “The Small Arch of Galerius”,** Archaeological Museum of Thessaloniki, Greece https://www.amth.gr/en/exhibitions/highlights

Much like many of his predecessors, Galerius was prominently featured in a multitude of portraits and statues throughout his reign. These artistic representations consistently cast him as a strong and unwavering leader, characterized by stern expression and adorned with intricate military regalia. Beyond their artistic merit, these depictions held profound historical value, serving as windows into the prevailing culture and politics of the Roman Empire during his rule. Moreover, they afford us a glimpse into the nuanced strategies employed by emperors to project their influence and command, shedding light on the perceptions held by their subjects and contemporaries.

Upon encountering his portrait at the Canellopoulos Museum in Athens, I was truly taken aback. Galerius appeared notably advanced in age, likely in the twilight of his life, exuding an aura of austerity, distance, and impassivity. Gazing upon his face, one can vividly sense the gravity of his station. Despite, however, the impression of weariness, detachment, and aloofness, the Emperor unmistakably embodies the quintessential image of an absolute monarch within the Tetrarchy – a power deserving of the most serious consideration!

For a PowerPoint of Portraits depicting Emperor Galerius, please… Check HERE!

The First Kiss of Sunlight

October 19, 2023

by admin 19th century Art Art French Art Orientalism Powerpoints

**Jean-Léon Gérôme**, French Artist, 1824–1904
**The First Kiss of the Sun,** 1886, Oil on Canvas laid on Board, 54 x 100.4 cm, Private Collection https://www.christies.com/en/lot/lot-6438415

Characterized by Ackerman as “The most beautifully composed and painted of Gérôme‘s landscapes”. The First Kiss of the Sun was painted in 1886, six years after Gérôme‘s last trip to Egypt. https://www.christies.com/en/lot/lot-6438415 (G.M. Ackerman, Jean-Léon Gérome, London, 1986)

So… Who is Jean-Léon Gérôme? Why is his painting The First Kiss of the Sunso beautifully composed and painted? What do we know about his artistic achievements? Let’s explore Jean-Léon Gérôme’s oeuvre … by answering some questions!

**Nadar,** French Artist, 1820–1910
**Photo Portrait of French Artist Jean-Léon Gérôme**
https://www.artrenewal.org/Artwork/Index/33046

Who is Jean-Léon Gérôme? He is a prominent 19th-century French academic painter, sculptor, and teacher known for his historical and Orientalist works. He was born on May 11, 1824, in Vesoul, France, and passed away on January 10, 1904, in Paris. Gérôme began his artistic training at an early age, studying under Paul Delaroche, a renowned historical painter. He later attended the École des Beaux-Arts in Paris, where he developed a meticulous and highly detailed style that characterized much of his work. His artistry drew heavily from historical and classical themes, often depicting scenes from ancient civilizations and mythology.

How and Why did Gérôme become famous? During the 1850s and 1860s, Gérôme gained widespread recognition and success for his paintings, which often featured archaeological and ethnographic elements. He was particularly acclaimed for his Orientalist pieces, showcasing scenes from the Middle East and North Africa, illustrating the exoticism and culture of these regions. He was a skilled draftsman as well, utilizing precise anatomical and architectural details in his work. His paintings were characterized by their careful composition, vibrant colors, and the depiction of intricate textures. He also explored themes of academic classicism, often depicting heroic or mythological figures.

How is an ‘Orientalist’ artist described? An “Orientalist” artist refers to a Western artist, usually from Europe or North America, who specializes in creating art that focuses on the depiction of the Orient. The Orient, in this context, typically referred to regions of the Middle East, North Africa, and parts of Asia. Orientalist artists were active primarily during the 19th and early 20th centuries, although the influence of Orientalism extends beyond this time frame.

Orientalist artists focused on portraying scenes, landscapes, people, and cultures from the Eastern world. These scenes often included depictions of daily life, historical events, architecture, landscapes, and various customs prevalent in the Orient. They often emphasized the exotic and romantic aspects of the Orient. Artists presented these regions as mysterious, alluring, and different from the Western world. The art was often intended to captivate and fascinate Western audiences.

Why is Gérôme considered to be an Orientalist artist? Gérôme is widely recognized for his artistic focus on depicting scenes, landscapes, and people from the Orient, particularly the Middle East and North Africa. He had, for example, a deep connection to Egypt that greatly influenced his artwork. This connection was primarily through his travels to Egypt, seven times to be precise, and his fascination with its culture, architecture, and history. Gérôme’s interest in Egypt is reflected in a significant portion of his body of work, particularly his Orientalist paintings and sculptures.

How is Gérôme’s painting ‘The First Kiss of the Sun’ best described? According to Christie’s, where The First Kiss of the Sun was auctioned in 2023, the painting dates from 1886, six years after Gérome’s last trip to Egypt. This is probably one of the artist’s most accomplished landscapes. It shows the pyramids of Giza suffused in the golden morning light of the desert sun. This view is from the west, as seen from the rising sun illuminating the summit of each pyramid. The ethereal appearance of the distant pyramids contrasts dramatically with the clearly detailed foreground. Moreover, the haze created by the sand and sunlight lends the picture an air of otherworldliness. The head of the Sphinx is just visible in the middle background. https://www.christies.com/en/lot/lot-6438415

In The First Kiss of the Sun Gérôme provides a carefully detailed and beautifully rendered scene of the Giza Plateau, one of the most iconic archaeological sites in Egypt. Interestingly, the painting features the Pharaonic funerary buildings in the background along with a contemporary Bedouin camp in the foreground. The artist captures the soft and ethereal light of the rising sun, which casts a cooler, in my opinion, golden/violet glow on the ancient structures and the surrounding landscape.

How did Gérôme manage to leave a lasting impact on the art world? In addition to his artistic achievements, Gérôme was an influential teacher, serving as a professor at the École des Beaux-Arts in Paris. He mentored many aspiring artists, leaving a lasting impact on the art world through his teachings. Throughout his career, Jean-Léon Gérôme received numerous awards and honors, solidifying his reputation as a leading academic artist of the 19th century. Despite changing artistic trends, his work continues to be appreciated and studied for its historical significance and technical mastery.

For a PowerPoint Presentation of Jean-Léon Gérôme’s Paintings of Egypt, please… Check HERE!

The use of light and shadow accentuates the form and texture of the Pyramids, enhancing the sense of depth and three-dimensionality. Gérôme’s meticulous attention to detail is evident in the accurate rendering of the architectural elements and the presentation of the ‘exotic’ Bedouin camp site. The overall composition conveys a sense of awe and reverence for the historical and cultural significance of the site.

Titian’s Portrait of Isabella d’Este

October 14, 2023

by admin 16th century Art Art High Renaissance Italian Renaissance Art Powerpoints Renaissance Renaissance Art Venetian Art

**Titian,** 1488-1576
**Isabella d’Este, Marquise of Mantua** (1474–1539), 1534/36 Oil on Canvas, 101.9 × 64 cm, Kunsthistorisches Museum Vienna, Austria https://tiziansfrauenbild.khm.at/en/

In a well-known passage in De pictura, Alberti describes the principal power of portraits, and even painting in general, as follows: Painting possesses a truly divine power in that it does not only make the absent present, as they say of friendship, but it also represents the dead to the living many centuries later […] Through painting, the faces of the dead go on living for a very long time. Does Titian’s Portrait of Isabella d’Este possess a truly divine power in presenting the true likeness of the Marchioness of Mantua? https://scholarlypublications.universiteitleiden.nl/access/item%3A2889008/view page 125

Titian’s renowned painting of Isabella d’Este, commonly referred to as La Bella (The Beautiful), was created in 1534 when Isabella herself was approximately 60 years old. Notably, the Marchioness of Mantua did not directly sit for Titian’s brush; instead, she dispatched a portrait of herself executed by Francesco Francia (now lost) in 1511 to provide a reference for her likeness. Titian, the accomplished Venetian master, concluded his Portrait in 1536, earning Isabella’s delight with the outcome. In a letter to the Mantuan ambassador in Venice, she acknowledged… The portrait by Titian’s hand captures such a pleasing essence that we are prompted to question whether, during the age he depicts us, we ever possessed the beauty it encapsulates.

Titian’s Portrait of Isabella d’Este is currently housed in the Kunsthistorisches Museum in Vienna. It portrays Isabella as a young and exquisite woman, dressed in elegant attire, with a sophisticated hairstyle and adorned with jewels. The portrait may not be an accurate portrayal of Isabella turning sixty, but it effectively captures the regal poise and demeanor that defined the Marchioness of Mantua.

**Titian,** 1488-1576
**Isabella d’Este, Marquise of Mantua** (detail), 1534/36, Oil on Canvas, 101.9 × 64 cm, Kunsthistorisches Museum Vienna, Austria https://www.khanacademy.org/humanities/renaissance-reformation/high-ren-florence-rome/late-renaissance-venice/a/titian-isabella-deste-isabella-in-black

In the painting, Isabella is portrayed in a three-quarter profile, with her gaze slightly averted from the viewer. She is adorned in a sumptuous gown that combines shades of blue and black, intricately embellished with the fantasie dei vinci pattern, which serves as a testament to her position as a prominent noblewoman of her era. The hues of her attire are both dark and vivid, and the fashionable accessories that Isabella wears, pearl earrings and a fur shawl gracefully draped over her shoulder, have been meticulously rendered. These details not only reflect Isabella’s significance but also highlight Titian’s expertise in capturing textures and fabrics. https://scholarlypublications.universiteitleiden.nl/access/item%3A2889008/view pp.22-23

1 am particularly drawn to the elegant arrangement of Isabella’s hair. The Marchioness wears a captivating bulbous headdress featuring a sizable brooch adorned with eight pearls encircling a gem. Isabella was a famous fashionista. The bulbous headdress (known as zazara at the time) was designed by Isabella herself, and the Titian painting served her own trendsetting fashion put on display. What a magnificent way to emphasize her majestic presence!

Isabella’s expression is both serene and confident, befitting her reputation as a powerful and influential figure. Her gaze conveys a sense of introspection and sophistication, while the faint hint of a smile gracing her lips adds an air of subtle allure. The play of light and shadow in the painting adds depth and dimension to Isabella’s features, enhancing the overall realism of the portrait. Titian’s skillful use of chiaroscuro, a technique that contrasts light and dark tones, gives the portrait a lifelike quality and a sense of depth.

The background of the painting is relatively simple, allowing the focus to remain on Isabella’s presence and personality, her elegance, grace, and authority. Through meticulous attention to detail, refined use of color and light, and a keen understanding of portraiture, Titian created a lasting image that captures the essence of Isabella’s character and her place in history.

For a PowerPoint, titled 9 Portraits of Isabella d’Este, please… Check HERE!… Check HERE!

An Interesting Video about Isabella d’Este the Marchioness of Mantua during Early Renaissance Italy by World History Encyclopedia (8:09 min)

Pectoral with Coins and Pseudo-Medallion

October 10, 2023

by admin Art Byzantine Art Byzantine Jewelry Byzantium Early Christian Art Jewelry Powerpoints

**Pectoral with Coins and Pseudo-Medallion,** ca. 539–50, Gold, niello, 23.9 x 21.9 x 1.6 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/464070

Neck rings, such as the imposing gold Pectoral with Coins and Pseudo-Medallion in the Metropolitan Museum in New York City, are cited in early sources as playing a role both in the glorification of military heroes and in coronation ceremonies. They were popular during the Late Roman period and continued well into the Early Byzantine era. Also known as Byzantine Imperial Collars or Byzantine Imperial Torcs, ornate necklaces like the MET example, were worn by members of the Byzantine imperial family and high-ranking officials during the Byzantine Empire (330-1453 AD). These neck rings were made of gold and decorated with medallions, coins, and intricate designs, often featuring Christian symbols. https://www.metmuseum.org/art/collection/search/464070

The Metropolitan Museum pectoral necklace is composed of a plain, hollow neck ring attached to a frame set with a large central medallion flanked by coins, and two small decorative disks. The central medallion, encased by beaded wire, presents an unidentified Emperor in military attire on the obverse, and the enthroned personification of Constantinople on the reverse. Fourteen coins of Byzantine Emperors reigning during the fifth to the sixth centuries, are placed symmetrically, left, and right of the central medallion. The coins are surrounded by beaded wire as well. Crosses in niello, an interesting reference to Christianity, decorate the two small disks on either side of the medallion. The space between the coins and the medallion is filled with small rosettes and larger trefoils. The two ribbed rings at the pectoral’s lower edge once held a large medallion of the emperor Theodosius I (in the Collection of the Freer Gallery of Art). https://www.metmuseum.org/art/collection/search/464070 and https://www.metmuseum.org/art/metpublications/Age_of_Spirituality_Late_Antique_and_Early_Christian_Art_Third_to_Seventh_Century Age of Spirituality: Late Antique and Early Christian Art, page 318-319

**Pectoral with Coins and Pseudo-Medallion (detail),** ca. 539–50, Gold, niello, 23.9 x 21.9 x 1.6 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/464070

**Medallion, consisting of a coin of Theodosius I (A.D. 379-395) set in an ornamental frame,** 6^th century, Gold, Diam: 0.5 cm, Freer Gallery of Art, Washington DC, USA https://archive.asia.si.edu/exhibitions/online/luxuryarts/1d.htm

This amazing necklace was part of a hoard of thirty-four pieces of gold jewelry said to have been found at the turn of the twentieth century, possibly at ancient Lycopolis (modern Assiut) or Antinoöpolis (modern Sheikh Ibada), both in central Egypt. The circumstances of the hoard’s discovery remain obscure as the treasure was illegally excavated. The high quality of each piece links the treasure jewels to the imperial workshops in Constantinople. The hoard is now divided among the Metropolitan Museum; the British Museum, London; the Freer Gallery of Art, Washington, D.C.; and the Staatliche Museen-Preussischer Kulturbesitz, Berlin. Whether the pieces were indeed discovered together or were assembled from different sites, they represent the standard of luxury among the elite in Egypt under Byzantine rule and attest to the close connection between the wealthy province and the capital Constantinople. https://www.metmuseum.org/art/metpublications/The_Arts_of_Byzantium_The_Metropolitan_Museum_of_Art_Bulletin_v_58_no_4_Spring_2001 “The Arts of Byzantium”: The Metropolitan Museum of Art Bulletin, v. 58, no. 4 (Spring, 2001), Page 19 and “Into the hands of a well-known antiquary of Cairo”: The Assiut Treasure and the Making of an Archaeological Hoard by Elizabeth Dospěl Williams, West 86th: A Journal of Decorative Arts, Design History, and Material Culture, Vol. 21, No. 2 (Fall-Winter 2014), pp. 251-272 https://www.jstor.org/stable/10.1086/679985?read-now=1#page_scan_tab_contents

The Byzantine Imperial Neck Rings were not just a fashion accessory, they were a symbol of power and authority. The imperial family, for example, wore them on important occasions, such as coronations, to demonstrate their wealth and status. Members of the Byzantine military elite, on the other hand, wore them as trophies of their military distinction. According to Procopius, soldiers were rewarded with money, and honoured with precious necklaces or bracelets. It is interesting to note that during the Early Byzantine period, men and women wore such necklaces alike. https://www.metmuseum.org/art/metpublications/Age_of_Spirituality_Late_Antique_and_Early_Christian_Art_Third_to_Seventh_Century Age of Spirituality: Late Antique and Early Christian Art, Third to Seventh Century, edited by Kurt Weitzmann, 1979, page 318-319

For a PowerPoint on the so-called Assiut Treasure, please… Check HERE!

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