Posts in category: Renaissance

Pink, small, and punctual, / Aromatic, low, / Covert in April, / Candid in May,     /     Dear to the moss, / Known by the knoll, / Next to the robin / In every human soul.     /     Bold little beauty, / Bedecked with thee, / Nature forswears / Antiquity. Writes Emily Dickinson, but for The Labours of the Months: May small painting in the National Gallery in London, the feeling is different.  https://www.poemhunter.com/poem/may-flower/

Starting the 1^st of January 2021 and for every month so far, I “travel” to the National Gallery in London and present one, out of twelve, small picture, “painted on canvas and then… glued to a wooden panel. It is possible that (these twelve pictures) were made to decorate the recessed panels of a pair of doors. The paintings seem to have been planned in pairs with the figures facing each other and are currently displayed in two frames in groups of six. They show the ‘labours of the months’ – the rural activities that take place each month throughout the year.” This set of painted Doors combine simplicity in execution and extravagance in visual effect! The paintings, very small in size, about 13.6 x 10.6 cm, were achieved in vivid, bright, luxurious colours, like “ultramarine blue for the sky, strong vermilion and red lake for the clothing, with rich greens and yellows in the landscape. The restricted and repeated use of colour gives the group of little pictures a charming, decorative simplicity. All but one of the scenes show a man working outdoors on what appears to be the estate of a large villa, seen in several of the paintings, at the foot of the distant blue mountains.”     https://www.nationalgallery.org.uk/paintings/italian-venetian-the-labours-of-the-months-january#painting-group-info

The panel that represents the month of May, according to the National Gallery experts, “is the most puzzling picture of the series.” Observing the picture’s composition the viewer will see a seated young man, he seems alert and ready to stand up, holding “two rods, with one crossing the other at the top.” He is simply dressed, barefoot but wearing a broad-rimed straw hat, looking, as if he is expecting a nod, coming from someone straight in front of him, to continue the task he is planning to finish. “ It looks as though (the young man) might be making a supporting frame for vegetables or fruit,” the experts suggest, as there seems to be “a tradition in Italy for one of the spring months to be represented by a youth holding crossed branches, often in bud…” ttps://www.nationalgallery.org.uk/paintings/italian-venetian-the-labours-of-the-months-may

Whatever our Venetian young man is about to do… Whether or not this is the correct attribution… Enjoy an unpretentious Renaissance painting and Best Wishes for the Month of May!!!

For a PowerPoint on The Labours of the Months: May at the National Gallery in London, please… Check HERE!

Domenicos Theotokopoulos is in my heart. I find him an attractive personality in every aspect… talented, educated, ambitious, curious, adventurous, persistent…  “Art is everywhere you look for it, hail the twinkling stars for they are God’s careless splatters…” he wrote and I think of his Angelic Musicians, shining like flickering stars, in the National Gallery in Athens. http://elgreco.net/el-greco-quotes.jsp and https://www.nationalgallery.gr/en/painting-permanent-exhibition/painting/domenicos-theotokopoulos-el-greco/the-concert-of-the-angels.html

Domenicos Theotokopoulos was a Cretan Greek, born in Handaka-Candia, present-day Herakleion, part, at the time, of the thriving Republic of Venice. Archival research in Venice showed that between 1526-28 his family relocated from Chania to Handaka where in 1541 Domenicos was born. His orthodox-Greek family belonged to the upper-middle class, as his father, Giorgos Theotokopoulos, worked for the government of the Venetian Republic, most probably as a merchant and a tax collector. Very little is known of  Domenicos’s mother and early childhood. He was undoubtedly talented, and his father, realizing it, placed him as an apprentice in a painter’s workshop to learn this profitable trade. The name of his teacher is unknown, but judging from Domenicos’s earliest paintings, he was a great master of the Post-Byzantine Cretan School. Crete at the time was the center of a thriving artistic community and understanding the artist’s early influences and style is important in decoding his later work! https://www.historical-museum.gr/webapps/elgreco/xronologio.php?lang=en

By 1567/8 Theotokopoulos travelled to Venice, by 1570, he was in Rome, by 1576 he moved to Spain and in 1577 the artist settled in Toledo, where he found his spiritual home and remained for the rest of his life. He died on the 7th of April 1614, admired for his unique fluid style, temperamental character and humanist education. One of his friends and admirers, Hortensio Félix Paravicino y Arteaga (1580-1633) the Spanish poet, preacher and a member of the Trinitarian Order, wrote for the artist “O Greek divine! We wonder not that in thy works / The imagery surpasses actual being.” Paravicino also wrote, foreseeing Theotokopoulos’s legacy “Future generations will admire his strange genius, but for centuries he will not be imitated.” http://www.nccsc.net/essays/spanish-style  

I would like the reader of this BLOG POST, titled Angelic Musicians, to focus on two paintings. One of them is in Athens and is titled The Concert of the Angels, the other is in Madrid, and is an Annunciation scene. Now imagine them together and you will see one of the last, if not the last painting, the artist created but never finished. The original painting, an Annunciation scene, was commissioned for the Chapel of the Hospital of St. John the Baptist outside the walls of Toledo. Today, separated, the product of 19h century vandalism, may look slightly odd, but still, enthral the viewer with their unique “beauty.”

The Concert of the Angels in Athens is for me a wonderful depiction of an imaginary, celestial concert, full of energy and vibrato. Domenicos Theotokopoulos, the so-called El Greco, loved music and treated it with respect. The painting in Athens shows a musical ensemble with seven “ecstatic” angels, reading music, singing or playing the spinet, a harp, a flute and a viola da gamba. I wonder what kind of music Domenico enjoyed most, and which musician of his time he favoured… https://www.nationalgallery.gr/en/painting-permanent-exhibition/painting/domenicos-theotokopoulos-el-greco/the-concert-of-the-angels.html

The artist uses swift brushwork and swaying movement in postures and robes to create excitement in his composition. Like tongues of fire, his swirling figures look more like spiritual beings than real bodies…

The colour palette that the artist uses is another distinctive characteristic of his mannerism. The colours are iridescent but bold. He uses oranges in red and green and yellow/gold in blue. Tints and shades are juxtaposed. Values of high or low intensity are treasured. Theotokopoulos’s final Annunciation was never finished but whether you see its upper part in Athens or the actual Annunciation part in Madrid, its expressive power is unquestionable.

For a PowerPoint on Theotokopoulos’s paintings of the Annunciation, please … Click. HERE!

The National Gallery – Alexandros Soutsos Museum – Evripidis Koutlidis Foundation in Athens has uploaded a wonderful (in Greek) Video to watch… https://www.facebook.com/watch/?v=316373302403183  

Whan that Aprill with his shoures soote:   When April with its sweet-smelling showers  /  The droghte of March hath perced to the roote,  Has pierced the drought of March to the root,   /  And bathed every veyne in swich licour  And bathed every vein (of the plants) in such liquid  /  Of which vertu engendred is the flour;   By the power of which the flower is created;  /  Whan Zephirus eek with his sweete breeth   When the West Wind also with its sweet breath,  /  Inspired hath in every holt and heeth   In every holt and heath, has breathed life into  /  The tendre croppes, and the yonge sonne   The tender crops, and the young sun  /  Hath in the Ram his half cours yronne,   Has run its half course in Aries,  /  And smale foweles maken melodye,  And small fowls make melody,  /  That slepen al the nyght with open ye   Those that sleep all the night with open eyes  /  (So priketh hem Nature in hir corages),   (So Nature incites them in their hearts)… Geoffrey Chaucer first line for The Canterbury Tales refers to April…   for The Labours of the Months: April cer/gp-aloud.htm

In London, at the National Gallery there are 12 small pictures, “painted on canvas and then each glued to a wooden panel. It is possible that they were made to decorate the recessed panels of a pair of doors. The paintings seem to have been planned in pairs with the figures facing each other and are currently displayed in two frames in groups of six. They show the ‘labours of the months’ – the rural activities that take place each month throughout the year.” This set of painted Doors combines simplicity in execution and extravagance in visual effect! https://www.nationalgallery.org.uk/paintings/italian-venetian-the-labours-of-the-months-january#painting-group-info

The painting that may represent “sweet-smelling” April, shows  a cooper making a wooden barrel. “He raises his mallet ready to strike the tool in his other hand. The work must be physically hard as he has tied a band of white cloth around his forehead to keep the sweat out of his eyes. The barrel will be used to store wine made from the grapes we see being pressed in September.”     https://www.nationalgallery.org.uk/paintings/italian-venetian-the-labours-of-the-months-april

Coopers were important craftsmen during the Middle Ages and the Renaissance. They created wooden barrels to store wine, spirits and salted meats, buckets to draw and carry water, wooden bowls and plates for daily use, pails, churns and tubs for various agricultural or home-industry needs. Coopers, like the one depicted in the small London painting, were respected and valued Renaissance professionals.

Depicting the Labours of the Months was a popular artistic theme that was frequently used in the decoration of Cathedrals and Churches, Castles and  Palaces, Psalters, Breviaries and Books of Hours across Europe during the Medieval and Early Renaissance period. Each month, depicting popular activities of peasants or/and the gentry throughout the year were sometimes paired with the Signs of the Zodiac circle. They would be either simple and small in size or large and elaborate, crafted in stone, wood, stained glass, painted in murals or often enough, painted in parchment. Many great Monuments and Libraries in Europe display fine examples of such artefacts for art lovers to enjoy.  http://www.livingfield.co.uk/ages/labours-of-the-months/

For a PowerPoint on The Labours of the Months at the National Gallery in London, please… Check HERE!

Dear March – Come in – / How glad I am – / I hoped for you before – / Put down your Hat – / You must have walked – / How out of Breath you are – / Dear March, how are you, and the Rest – / Did you leave Nature well – /Oh March, Come right upstairs with me –/I have so much to tell –     /     I got your Letter, and the Birds – / The Maples never knew that you were coming – / I declare – how Red their Faces grew – / But March, forgive me – / And all those Hills you left for me to Hue – / There was no Purple suitable – / You took it all with you –     /     Who knocks? That April – / Lock the Door – / I will not be pursued – / He stayed away a Year to call / When I am occupied –  / But trifles look so trivial / As soon as you have come     /     That blame is just as dear as Praise / And Praise as mere as Blame –   Dear March, Come in!, a poem by Emily Dickinson, is about the love and joy it brought to her… She personifies March as if he were a friend… and I find it a fitting introduction to the new POST The Labours of the Months: March!     https://poets.org/poem/dear-march-come-1320     and     https://www.poetryfoundation.org/poets/emily-dickinson

Depicting The Labours of the Months in works of art is a tradition that goes back to ancient Greek times. The charming Church of Hagios Eleutherios in Athens, also known as the Panagia Gorgoepikoos or the Mikri (Small) Metropolis, made up entirely of spolia of both ancient and Christian monuments, is a good example to start with. Above the main entrance to the Church and under the roof cornice, the builders of this extraordinary church placed “a frieze of Pentelic marble, which shows the months of the Attic Calendar, some festivals, and the complete circle of the Zodiac.” This ancient frieze “attempts to put together and coordinate the lunar calendar (Attic months and festivals) and the solar calendar (the signs of the Zodiac).” Amazing…     https://hellenismo.wordpress.com/2012/12/01/the-frieze-of-the-attic-calendar/

Olga Palagia, Professor of Classical Archeology at the National and Kapodistrian University of Athens, argues that the Calendar Frieze, in most probability,  was created in Athens for the Great Panathenaic festivities of the year 142/3. If this small Attic Calendar Frieze, Palagia still argues, is tied to Herodes Atticus, who presented Athens with a number of public buildings…if this Calendar Frieze was part of the grand Athenian marble Panathenaic Stadium complex, built entirely at the expense of Herodes Atticus for the Great Panathenaia that fell in 142/3… well,  makes it most interesting evidence of public Calendar representation… but in the realm of pure speculation!     The date and iconography of the calendar frieze on the little metropolis, Athens, JdI 123, 2008, by Olga Palagia,     https://www.academia.edu/843544/The_date_and_iconography_of_the_calendar_frieze_on_the_little_metropolis_Athens_JdI_123_2008

SO… The Calendar of the Months during Antiquity and the Labours of the Months later in history attracts our attention in Calendar works of Art adorning public buildings, Churches and Cathedrals of the time, striking Vitreaux Windows, amazingly colourful manuscripts, and paintings, monumental, like the eleven surviving panels in Torre Aquila I presented in 2020 (check: https://www.teachercurator.com/?s=torre%20aquila&cat=plus-5-results), or small, like the paintings in the National Gallery, in London, we will explore in 2021… month by month…     https://archive.org/details/labormonth00webs/page/n9/mode/2up Webster, James Carson – 1905-1989, The labors of the months in antique and mediaeval art to the end of the twelfth century, 1938, Evanston, Ill., Northwestern University,     and      https://www.nationalgallery.org.uk/paintings/italian-venetian-the-labours-of-the-months-march

For the Venetian Month of March at the National Gallery, we have yet another outdoor scene. “A bearded man wearing a yellow tunic trims vines that have been trained to grow up two trees. The branches of the vine are bare, while the trees have a few brownish leaves. Pruning vines is an activity carried out in Italy in winter, when the plant is dormant, and in spring when the new leaves have started to grow.” Once more, young farmers need to bundle up and take care of the daily chores…     https://www.nationalgallery.org.uk/paintings/italian-venetian-the-labours-of-the-months-march

For a PowerPoint on The Labours of the Months at the National Gallery in London, please… Check HERE!

The Labours of the Months: February POST will start with In February, a poem by John Addington Symonds, the English poet, literary critic, cultural historian and writer of numerous biographies of writers and artists: “The birds have been singing to-day / And saying: “The spring is near! / The sun is as warm as in May, / And the deep blue heavens are clear.”   /     The little bird on the boughs / Of the sombre snow-laden pine / Thinks: “Where shall I build me my house, / And how shall I make it fine?     /     “For the season of snow is past; /  / The mild south wind is on high; / And the scent of the spring is cast / From his wing as he hurries by.”     /     The little birds twitter and cheep / To their loves on the leafless larch: / But seven foot deep the snow-wreaths sleep, / And the year hath not worn to March.https://discoverpoetry.com/poems/february-poems/

The Labours of the Months is a theme that frequently occurs during the Late Medieval-Renaissance Period Art. It attracts our attention in sculptural pieces adorning Churches and Cathedrals of the time, striking Vitreaux Windows, amazingly colourful manuscripts, and paintings, monumental, like the eleven surviving panels in Torre Aquila I presented in 2020 (check: https://www.teachercurator.com/?s=torre%20aquila&cat=plus-5-results), or small, like the paintings in the National Gallery, in London, we will explore in 2021… month by month… https://archive.org/details/labormonth00webs/page/n9/mode/2up Webster, James Carson – 1905-1989, The labors of the months in antique and mediaeval art to the end of the twelfth century, 1938, Evanston, Ill., Northwestern University,     and      https://www.nationalgallery.org.uk/paintings/italian-venetian-the-labours-of-the-months-january

For 2021, I want to present something different, unpretentious but rare. In London, at the National Gallery, there are 12 small pictures, “painted on canvas and then each glued to a wooden panel. It is possible that they were made to decorate the recessed panels of a pair of doors. The paintings seem to have been planned in pairs with the figures facing each other and are currently displayed in two frames in groups of six. They show the ‘labours of the months’ – the rural activities that take place each month throughout the year.” This set of painted Doors combines simplicity in execution and extravagance in visual effect! The paintings, very small in size, about 13.6 x 10.6 cm, were achieved in vivid, bright, luxurious colours, like “ultramarine blue for the sky, strong vermilion and red lake for the clothing, with rich greens and yellows in the landscape. The restricted and repeated use of colour gives the group of little pictures a charming, decorative simplicity. All but one of the scenes show a man working outdoors on what appears to be the estate of a large villa, seen in several of the paintings, at the foot of the distant blue mountains.”     https://www.nationalgallery.org.uk/paintings/italian-venetian-the-labours-of-the-months-january#painting-group-info

For the Month of February, we have an outdoor scene. “A young man kneels beside a wooden block and cuts stakes with a hatchet. A line of stakes has already been set in the field behind him, which is ploughed into rows ready to be planted, perhaps with vines or olives. The stakes would be used to support the young plants.” The festivities of the holidays are over and now the young farmers need to bundle up and take care of the daily chores…

For a PowerPoint on The Labours of the Months at the National Gallery in London, please… Check HERE!