Chagall’s magnificent ceiling at the Opéra Garnier

Marc Chagall, from Belarus, 1887-1985
The ceiling of the Opéra Garnier, started in 1963 and completed on the 23rd of September, 1964, nearly 240 m² canvas, Opera Garnier, Paris, France – Photo Credit: Amalia Spiliakou, May 8, 2023

Russian-born artist Marc Chagall once said that “the dignity of the artist lies in his duty of keeping awake the sense of wonder in the world.” And it is difficult to conceal one’s wonder beneath Chagall’s magnificent ceiling at the Opéra Garnier, a masterwork that was unveiled in 1964… This is exactly how I felt on the 8th of May, 2023, attending the Dante Project by Wayne McGregor… WONDER! https://www.architecturaldigest.com/story/marc-chagall-opera-ceiling

Today’s goal is to highlight the artistic significance of the Opera Garnier’s painted Dome, featuring the breathtaking work of renowned painter Marc Chagall.

Chagall’s work at the Opera Garnier in Paris stands as a captivating testament to artistic innovation within the confines of historical grandeur. The vivid colors and imaginative forms of Chagall’s masterpiece create a striking juxtaposition against the backdrop of the Belle Epoque building. As one gazes upon the ornate details and classical elegance of the Opera House, the unexpected burst of modernity and expression on the dome becomes a mesmerizing focal point. This dynamic interplay between tradition and avant-garde artistry enhances the overall aesthetic experience, inviting viewers to appreciate the harmonious coexistence of two distinct yet complementary artistic worlds within the iconic Parisian landmark.

Marc Chagall’s involvement in painting the dome of the Opera Garnier in Paris is a fascinating chapter in the history of both art and architecture. In 1963, French Minister of Culture André Malraux proposed the idea of commissioning a contemporary artist to contribute to the decoration of the historic building. Chagall, renowned for his dreamlike and symbolic works, was chosen for this ambitious project, hoping for this commission to mark a departure from the conventional approach of adorning opera houses with historical or mythological themes. The artist embraced the opportunity to infuse the space with his distinctive blend of colors and imaginative compositions. He embarked on the task with great enthusiasm, creating a 560-square-meter masterpiece that would become one of his largest and most celebrated works.

Completed in 1964, Chagall’s painted dome is a visual feast, featuring a rich tapestry of scenes and characters from famous operas. The vibrant hues and dynamic forms evoke a sense of lyricism and movement, encapsulating the essence of the performing arts.

The theme behind Marc Chagall’s painting of the dome of the Opera Garnier is a celebration of the world of music, dance, and the performing arts. Chagall’s approach to the commission was to create a vibrant and whimsical visual narrative that captured the spirit of opera and ballet. The dome serves as a vast canvas for Chagall’s imaginative interpretation of the cultural and emotional resonance found in the world of performing arts, featuring a kaleidoscope of colors, floating figures, and symbolic elements drawn from various operas. Dancers, musicians, and mythical creatures come together in a dreamlike composition, conveying a sense of lyricism and movement. The artist skillfully weaves together scenes and characters from famous operas, creating a harmonious and dynamic tapestry that reflects the magic and drama of the performing arts.

Marc Chagall, from Belarus, 1887-1985
The ceiling of the Opéra Garnier started in 1963 and was completed on the 23rd of September, 1964, nearly 240 m² canvas, Opera Garnier, Paris, France https://www.pariszigzag.fr/insolite/histoire-insolite-paris/lhistoire-du-plafond-de-lopera-garnier-par-marc-chagall

Chagall’s dome at the Opera Garnier received mixed reactions initially, with some critics appreciating the modern approach and others expressing reservations about its departure from tradition. However, over time, the masterpiece has come to be recognized as a pivotal work in the intersection of contemporary art and historic architecture. Today, Chagall’s contribution to the Opera Garnier stands as a testament to the enduring power of artistic expression and the willingness to embrace innovation within venerable cultural institutions. The painted dome continues to enchant visitors, offering a unique and immersive experience that transcends the boundaries of time and tradition.

For a full explanation of what Chagall’s ceiling composition presents, please check Google Arts & Culture… https://artsandculture.google.com/asset/marc-chagall%E2%80%99s-ceiling-for-the-paris-op%C3%A9ra-marc-chagall/RwHNmMsONyvObQ

For a Student Activity, inspired by Chagall’s magnificent ceiling at the Opéra Garnier, please… Check HERE!

Opéra Garnier in Paris filmed by a drone… is an interesting, short, video to watch: https://www.linkedin.com/pulse/marc-chagall-opera-love-never-died-look-paris-op%C3%A9ra-garnier-cruz-1/ 

On Marc Chagall: The artist of the Opera’s dome, Marc Chagall, was of Russian-French origin, known for his unique blend of fantasy, symbolism, and elements of folk art. He was associated with several art movements, including Cubism and Surrealism, but his work defied easy categorization. Chagall’s art often featured dreamlike and poetic scenes, filled with vibrant colors and floating figures. He painted a variety of subjects, including village life, biblical themes, and memories of his hometown Vitebsk. Marc Chagall’s contributions to the art world have left a lasting impact, and he is considered one of the most significant artists of the 20th century.

On the Opera Garnier: Officially known as the Palais Garnier, this is an architectural masterpiece and a cultural icon located in the heart of Paris, France. Designed by Charles Garnier and inaugurated in 1875, the opera house is a splendid example of Beaux-Arts architecture, characterized by its opulent ornamentation, grandiosity, and meticulous attention to detail. The exterior is adorned with sculptures, columns, and a grand staircase, while the interior boasts a lavish auditorium with a stunning chandelier, intricate frescoes, and a ceiling painted by Marc Chagall in the 1960s. The Opera Garnier has been a focal point for Parisian cultural life, hosting a myriad of operas, ballets, and other performances. Its rich history, architectural beauty, and artistic significance make it a symbol of Paris’s enduring cultural legacy.

The March Marigold by Sir Edward Coley Burne-Jones

Sir Edward Coley Burne-Jones, British Artist, 1833–1898
The March Marigold, circa the 1870s, Oil and Mixed Media on Canvas, 71.7×77.4 cm, Private Collection https://www.wikiart.org/en/edward-burne-jones/the-march-marigold

The March Marigold by Sir Edward Coley Burne-Jones celebrates the vibrantly tinted and warmly hued, Μarigold, the flower that carries rich symbolic meaning across various cultures. Often associated with the sun, these flowers symbolize positivity, joy, and the life-giving energy of sunlight. In many traditions, marigolds are also linked to themes of celebration, prosperity, and good fortune, making them popular choices for festivals, weddings, and other auspicious occasions. Additionally, marigolds are known for their resilience and ability to thrive in diverse conditions, serving as a symbol of endurance and tenacity. Whether used in religious ceremonies, cultural celebrations, or simply as decorative elements, marigolds convey a profound message of optimism, resilience, and the enduring beauty that can emerge from even challenging circumstances.

So… What Do Marigolds Symbolize Internationally?

The scientific name of the Marigold flower is Calendula officinalis, and it comes from Latin. The Romans noticed the plant’s consistent flowering on the Calends, the first days of each month in the Roman Calendar and associated it with the regular intervals of their calendar, hence the name Calendula. The specific epithet officinalis, Latin as well, indicates that the plant was officially used as a medicinal or culinary herb, emphasizing its recognized and established role in traditional practices.

In ancient Greece and Rome, the bright and vibrant marigold flowers were seen as a reflection of the sun’s rays, and they were sometimes considered symbols of light and positivity, often linked to the God Apollo, and Goddesses Aphrodite or Hera. They were also valued for their medicinal properties. Calendula flowers, used for their healing attributes, were employed in salves and ointments to treat wounds, inflammation, and various skin conditions. Additionally, Calendula petals were incorporated into culinary practices, lending color to salads and dishes. The plant’s association with health and well-being is reflected in its use in rituals and ceremonies, demonstrating its cultural and practical importance in ancient Greek and Roman society.

Sir Edward Coley Burne-Jones, British Artist, 1833–1898
Stooping Woman, circa the 1870s, Chalk on paper, 152 × 165 mm, TATE, London, UK https://www.tate.org.uk/art/artworks/burne-jones-stooping-woman-a00069

In Europe, during the Middle Ages, the golden color of the Marigolds, reminiscent of the radiance associated with Mary’s purity and divine nature in the Christian tradition, was linked to the Virgin Mary and her pure heart. Over time, this visual connection, coupled with the flowers’ frequent use in religious ceremonies and art, solidified the link between marigolds and the Virgin Mary in Christian symbolism. While marigolds are not explicitly mentioned in the Bible, their use in religious and cultural practices reflects a rich tapestry of symbolic meanings within the Christian context.

In Mexico, Marigolds, or Cempasúchil in Spanish, hold deep cultural significance, particularly during the Dia de los Muertos (Day of the Dead) celebration. Marigolds are thought to guide the spirits of the deceased back to the world of the living with their vibrant orange and yellow colors. Families often create intricate floral arrangements and altars adorned with marigolds, candles, and mementos to honor and remember loved ones who have passed away. The flower’s strong aroma is believed to attract the spirits, and its use in Day of the Dead rituals reflects a blend of indigenous traditions with Catholicism, symbolizing the interconnectedness of life and death in Mexican culture. Marigold’s role in these traditions goes beyond aesthetics, embodying a powerful symbol of remembrance, spirituality, and the enduring connection between the living and the deceased.

In India, Marigolds hold multifaceted cultural and religious significance. These vibrant flowers, known as Genda Phool in Hindi, are commonly used in religious ceremonies, festivals, and decorations. Marigold garlands are often offered in temples to various deities, symbolizing purity and auspiciousness. The golden hue of Marigolds is associated with the sun, representing positive energy and prosperity. Additionally, during festivals like Diwali and Durga Puja, Marigolds are extensively used for decoration, adorning homes, and public spaces as a symbol of joy and celebration. The flower’s resilience and vibrant color contribute to its popularity in Indian culture, where marigolds serve as more than mere ornamental elements, embodying spiritual, cultural, and festive significance.

For a Student Activity inspired by the Marigold Flower, please… Check HERE!

The Bronze Hellenistic Dancer at the MET

Bronze statuette of a veiled and masked dancer, 3rd–2nd century BC, Bronze, 20.5 × 8.9 × 11.4 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/255408?pkgids=351&pos=20&nextInternalLocale=en&ft=*&oid=255408&rpp=4&exhibitionId=%7Bc81fa618-19f5-47a1-a089-fd1b22309109%7D&pg=1

Dance is an ephemeral art. Is it about sentiment, imagination, and expression? Is The Bronze Hellenistic Dancer at the MET the quintessence of a Hellenistic Dancer’s soul?

The MET Dancer emerges, as if from the shadows, draped in layers of gleaming veils that conceal and reveal her movements. With each step, she gracefully twists and turns to the left, casting a downward gaze. As she dances, her left hand lifts a veil over her left hip, while her right arm, holding folds of fabric, shields the lower part of her veiled head, which arches backward. The ethereal dance causes her dress to swirl around her body, and the edges of her enveloping cloak flare out at her sides.

The complex motion of this dancer, the MET experts tell us, is conveyed exclusively through the interaction of the body with several layers of dress… This Hellenistic Bronze statuette of a Dancer not only provides insights into the cultural context of its creation but also invites speculation about the statue’s original owner. Questions arise: Where was this captivating figure displayed? What thoughts and emotions did she elicit? How much joy did she bring to those who beheld her? https://www.metmuseum.org/art/collection/search/255408?pkgids=351&pos=20&nextInternalLocale=en&ft=*&oid=255408&rpp=4&exhibitionId=%7Bc81fa618-19f5-47a1-a089-fd1b22309109%7D&pg=1

Quoting the MET experts… The bronze Dancer performs a private dance for the viewer—a kind of dance of the seven veils—that is both alluring and surprisingly contemporary in appearance, having been rendered in a realistic style. Nonetheless, it is undoubtedly very much a product of the ethos of the Hellenistic Age, the work of a master sculptor perhaps from Alexandria, Egypt… This dancer has been convincingly identified as one of the professional entertainers, a combination of mime and dancer, for which the cosmopolitan city of Alexandria was famous in antiquity… https://www.metmuseum.org/blogs/now-at-the-met/2016/pergamon and https://www.metmuseum.org/art/collection/search/255408?pkgids=351&pos=20&nextInternalLocale=en&ft=*&oid=255408&rpp=4&exhibitionId=%7Bc81fa618-19f5-47a1-a089-fd1b22309109%7D&pg=1

She is, luckily, not alone. In addition to the captivating Hellenistic Bronze statue showcased at the MET, the collection also features a charming array of clay statuettes portraying dancers.

Terracotta statuette of a Dancing Woman, 3rd century BC, Terracotta, 24.1 × 10.2 × 8.3 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/248712
Terracotta statuette of a Dancing Woman, 3rd century BC, Terracotta, 15.2 × 6.2 × 8.6 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/248601
Terracotta statuette of a Veiled Dancer, 3rd century BC, Terracotta, H. 20.0 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/251216

Sculptures of dancers from this era often captured the dynamic and graceful movements of the human body, showcasing the Hellenistic fascination with naturalism and the portrayal of emotion. These sculpted dancers, whether in bronze or clay, reflected the cultural significance of dance as a form of entertainment, religious ritual, and social expression. The intricate detailing of their poses and flowing garments not only celebrated the physical prowess of the human form but also conveyed a sense of vitality and joy, providing a testament to the Hellenistic commitment to aesthetic excellence and the embodiment of life in art.

For a Student Activity on Hellenistic Dancing, please… Check HERE!

The Tower of Babel by Pieter Bruegel the Elder

Pieter Bruegel the Elder, 1526/1530–1569
The Tower of Babel, 1563, Oil on Panel, 1,140×1,550 mm, Collection      
Kunsthistorisches Museum, Vienna, Austria https://www.bruegel2018.at/en/the-tower-of-babel/

11 Now the whole world had one language and a common speech. 2 As people moved eastward,[a] they found a plain in Shinar[b] and settled there. / 3 They said to each other, “Come, let’s make bricks and bake them thoroughly.” They used brick instead of stone, and tar for mortar. 4 Then they said, “Come, let us build ourselves a city, with a tower that reaches to the heavens, so that we may make a name for ourselves; otherwise we will be scattered over the face of the whole earth.” / 5 But the Lord came down to see the city and the tower the people were building. 6 The Lord said, “If as one people speaking the same language they have begun to do this, then nothing they plan to do will be impossible for them. 7 Come, let us go down and confuse their language so they will not understand each other.” / 8 So the Lord scattered them from there over all the earth, and they stopped building the city. 9 That is why it was called Babel[c]—because there the Lord confused the language of the whole world. From there the Lord scattered them over the face of the whole earth. This is how the construction of the Tower of Babel is described in Genesis 11:1–9. The Tower of Babel by Pieter Bruegel the Elder, the painting in the Kunsthistorisches Museum in Vienna, portrays this description within the context of Netherlandish Art. https://www.biblegateway.com/passage/?search=Genesis%2011%3A1-9&version=NIV

Pieter Bruegel the Elder, a prominent Netherlandish Renaissance artist, lived from around 1525 to 1569. Known for his distinctive style and masterful compositions, Bruegel excelled in depicting scenes of everyday life, landscapes, and complex narrative paintings. His works often showcased a keen observation of human behavior and a meticulous attention to detail. The Tower of Babel, The Peasant Wedding, and The Hunters in the Snow are among his notable paintings. Bruegel’s contributions to art extended beyond mere technical skill; he played a significant role in influencing subsequent generations of artists, leaving a lasting impact on the Northern Renaissance.

Pieter Bruegel the Elder, 1526/1530–1569
The Tower of Babel (details), 1563, Oil on Panel, 1,140×1,550 mm, Collection      
Kunsthistorisches Museum, Vienna, Austria https://www.bruegel2018.at/en/the-tower-of-babel/

Among the artist’s many notable paintings, The Tower of Babel in Vienna vividly captures the viewer’s imagination. The composition is a bustling panorama of a colossal tower in progress, set against a sprawling landscape that showcases Bruegel’s meticulous attention to detail. The architectural marvel dominates the canvas, with countless workers toiling at various tasks, creating a bustling scene of organized chaos. The painting skillfully combines elements of biblical storytelling with a keen observation of human behavior, portraying the futility of human arrogance and the inevitable consequences of divine intervention. Bruegel’s use of color, texture, and intricate details adds depth and complexity to the narrative, making The Tower of Babel a masterpiece that continues to captivate viewers with its rich storytelling and artistic brilliance.

Pieter Bruegel the Elder, 1526/1530–1569
The Tower of Babel, 1563, Oil on Panel, 1,140×1,550 mm, Collection      
Kunsthistorisches Museum, Vienna, Austria
The building of the tower of Babel, circa 1568, Oil and Wood, 59.9×74.6 cm, Museum Boijmans Van Beuningen, Rotterdam, the Netherlands
https://en.wikipedia.org/wiki/The_Tower_of_Babel_(Bruegel)

The Renaissance artist painted two versions of the Tower of Babel. One is in Vienna, my favourite, and the other is housed in the Museum Boijmans Van Beuningen, in Rotterdam. Seen side by side, the two paintings may depict the same subject in a similar setting, but there are a number of important differences between the two compositions. The most obvious difference is the size of the Vienna panel, which is almost four times bigger than that of the Tower in Rotterdam – but if we were able to enter the compositions, we would realize that the Tower in Rotterdam is in fact 250 % bigger than the one in Vienna. https://www.bruegel2018.at/en/the-tower-of-babel/

Pieter Bruegel the Elder’s two renditions of The Tower of Babel, exhibit subtle yet significant distinctions. In the Vienna painting, the tower commands a central and meticulously detailed position, with a slender design featuring a distinctive spiral staircase. The foreground is bustling with a multitude of workers engaged in various construction tasks, contributing to a sense of organized chaos. On the other hand, the Rotterdam version offers a slightly elevated perspective, showcasing a more massive and block-like tower positioned towards the left side. The architectural structure differs, and the foreground activity, while still busy, is less intricately detailed, allowing for a broader view of the expansive landscape. These variations in composition, architectural design, foreground activity, and atmospheric elements highlight Bruegel’s nuanced approach to depicting the same biblical narrative, providing viewers with unique visual experiences in each rendition.

For a Student Activity, inspired by Pieter Bruelel’s paintings, titled The Tower of Babel, please… Check HERE!

Two Early Christian Tunics in Thessaloniki

Early Christian Tunic, 5th-7th cent., Wool, 117×100 cm, from Egypt (permanent loan of the Benaki Museum), Museum of Byzantine Culture, Thessaloniki, Greece
https://vizantinaistorika.blogspot.com/2016/06/blog-post_30.html

The Early Christian Tunic refers to a garment style worn during the Late Roman/Early Christian period which generally spans from the 4th to the 7th century AD. This era is characterized by the transition from the classical Roman Empire to the Μedieval period, and it includes the later part of the Roman Empire and the Εarly Byzantine Empire. Tunics of that era evolved from the earlier Roman Τunics but had distinct features that reflected the changing cultural, social, and political landscape. My BLOG intends to present information on Two Early Christian Tunics in Thessaloniki, exhibited in the city’s amazing Museum of Byzantine Culture.

What exactly is an Early Christian Tunic? It is a simple, loose-fitting garment, worn by both women and men and often made from linen or wool. Tunics were generally loose-fitting garments, providing comfort and ease of movement. They had no sewing and were worn with the help of belts, buckles, and pins. Cutting and sewing are practices that experienced wider spread in the Mediterranean area after the 7th century. They had a T-shape or a tubular design, with a hole for the head and sometimes sleeves. The shape could vary, and some tunics were more form-fitting than others. The length of the Τunic could also vary. Some reached the knees, while others were longer, extending to the ankles. https://www.mbp.gr/exhibit/chitonas-2/

While some Τunics were plain, others were embellished with plain coloured bands or ‘ornaments’ of textile bands, roundels, or square panels. These bands (called clavi) were of different lengths and adorned the front and back parts of the garment at shoulder level, but sometimes the lower edge was also trimmed with a horizontal band that turned vertically upwards at right angles at each side. Tunics were also adorned with square panels or roundels (called orbiculi) on the shoulders and near their lower edge. Many times, clavi and orbiculi were garment ornaments, tapestry-woven separately, and then applied to the linen or woolen Tunic. https://www.jstor.org/stable/1522750?read-now=1#page_scan_tab_contents page 239

The clothing of the Early Christian period is often studied through archaeological findings, artistic representations, and references in historical texts. For the history of Early Christian garments and their decoration, Egypt is a treasure trove, due to its hot and dry climate. Egyptian textiles that have survived from this period are referred to as Coptic Textiles, an Arabic corruption of the Greek word ‘Aigyptos’, used to describe the Christianised Egyptians.

In the Museum of Byzantine Culture, in Thessaloniki, Greece, there are two Coptic Tunics (on permanent loan from the Benaki Museum) beautifully decorated with clavi and orbiculi.

One of the two Tunics has the natural color of linen and is adorned with purple-colored woven bands (clavi). Wide bands, for instance, embellish the upper part of the chest on both the front and back of the garment. These bands feature depictions of soldiers carrying shields under colonnades. A narrower band extends across the shoulders, displaying roundels with depictions of hares inside woven squares. Prominent features of the Tunic include two long vertical bands that start from the chest and extend to the hem. These bands are adorned alternately with running lions and hares, creating the impression of a hunt.

The second Tunic, multicoloured, and lively, is equally impressive. Made of linen, coloured a vibrant red, it is adorned with woven vertical white bands, thinner than usually fashionable, down to the waist. The rest of the Tunic’s ornamentation consists of bands for the neck area and the hem of each wrist, adorned with white geometric shapes against a black background for the neck, and white lozenge motifs against a black background for the cuffs. Finally, two discs (orbiculi) with stylized plant motifs in the same colour palette, are placed in the lower part of the Tunic. Noteworthy is the fact that at the height of the waist, there is a seam that covers a belt.

Both Tunics are displayed in the Museum’s 2nd Gallery, where aspects of Early Christian period city life are presented. This Exhibition, inaugurated on July 10th, 1998, is organized around the triclinium, that is the reception hall of a rich house in Thessaloniki. It presents issues that emphasize the role of the city as a fortified residential complex, its private and public life, professional activities, economic life, commerce, workshops, houses and their equipment (pottery and glass vessels), domestic activities (weaving, cooking) and objects for personal adornment. https://www.mbp.gr/en/permanentexhibitions/room-2-early-christian-city-and-dwelling/

For a Student Activity, inspired by the Coptic Tunics in Thessaloniki, please… Check HERE!

Oedipus Rex and Jocasta by Renoir

Pierre-Auguste Renoir, French Artist, 1841-1919
Panel for Oedipus: Jocasta, and Panel for Oedipus: King Oedipus
Both Panels: circa 1895, Oil on Canvas, 96.1 x 36.5 cm, Private Collection
https://www.christies.com/lot/lot-6452011?ldp_breadcrumb=back&intObjectID=6452011&from=salessummary&lid=1

Citizens of my beloved Thebes!  See now your great Oedipus!
That famous man who knew the answers of great riddles.  That man whose good fortune every man in Thebes envied!  See now in what monstrous storm of misfortune he has fallen… Let’s not praise a man for his good Fate unless he has arrived at his final day, having escaped bad Fate…
The last Chorus lines of Sophocles’ tragedy Oedipus Rex convey a sense of profound realization and acceptance of the futility of human efforts against fate and destiny. Do the paintings of Oedipus Rex and Jocasta by Renoir reflect Sophocles’ point of view? How did the great Impressionist artist decide to explore such a subject matter? https://bacchicstage.wordpress.com/sophocles/oedipus-rex/

The myth of Oedipus revolves around a tragic prophecy that foretells Oedipus, the son of King Laius and Queen Jocasta of Thebes, would kill his father and marry his mother. In an attempt to avoid this fate, Oedipus is abandoned as a baby but is later adopted and raised by another royal family. Unaware of his true parentage, Oedipus grows up and, through a series of unfortunate events, unwittingly fulfills the prophecy by killing his father, King Laius, in a chance encounter on the road and subsequently marrying his mother, Queen Jocasta. When the truth is revealed, Jocasta tragically takes her own life, and Oedipus blinds himself in horror and shame. The Oedipus myth explores themes of fate, free will, and the inevitability of destiny, serving as a classic example of Greek tragedy.

Sophocles’ Oedipus Rex stands as a timeless masterpiece of Greek tragedy, skillfully weaving a narrative that delves into the complexities of fate and the human condition. The play’s exploration of the inevitable clash between individual free will and the predetermined course of destiny is masterfully executed. The intricate use of dramatic irony, the relentless pursuit of truth, and the psychological unraveling of Oedipus and that of his mother Jocasta, contribute to the play’s enduring impact, making it a powerful and thought-provoking work that continues to captivate audiences and provoke contemplation on the intricacies of human existence.

These characteristics of drama seem to have inspired none other than the famous Impressionist artist Pierre-Auguste Renoir, who, in 1895, created two panels moved by Sophocles’ tragedy, depicting the protagonists of the play, Oedipus Rex, and Jocasta.

When viewed side-by-side, Christie’s experts tell us, Renoir’s two panels depicting Jocasta and Oedipus illustrate the full tension of the tragedy, their bodies seeming to push away from one another, whilst an unseen magnetic connection– an allegory for the inescapable strength of the prophecy– pulls them together. Renoir skillfully employs dynamic poses to enhance the drama of the narrative, and his vibrant choice of red alludes to the bloodshed in the tale. The artist embellishes the central figures on both panels with grisaille bas-reliefs and trompe l’oeil imitation of columns and stone, a rare example of Antique-inspired decoration within the artist’s oeuvre. https://www.christies.com/lot/lot-6452011?ldp_breadcrumb=back&intObjectID=6452011&from=salessummary&lid=1

Pierre-Auguste Renoir, French Artist, 1841-1919
Panel for Oedipus: Jocasta, and Panel for Oedipus: King Oedipus
Both Panels:circa 1895, Oil on Canvas, 96.1 x 36.5 cm, Private Collection
https://www.christies.com/lot/lot-6452011?ldp_breadcrumb=back&intObjectID=6452011&from=salessummary&lid=1
https://www.mutualart.com/Artwork/Panneau-pour-Odipe–Odipe-roi/676741683B0A87196FE13FBA024B87C8

Both paintings are indicative of Pierre-Auguste Renoir’s interest in the world of Antiquity, and particularly his reaction to the Pompeiian wall paintings he saw, and deeply admired, when he visited Italy in the fall of 1881 to mid-January 1882. In an 1882 letter to Mme George Charpentiere, he wrote… J’ai beaucoup étudié le Musée de Naples, les peintures de Pompéi sont extrêmement intéressantes à tous points de vue… https://chat.openai.com/c/c667ff6c-ca07-41ec-a3b0-29c824c174c3 Renoir’s Trip to Italy by Barbara Ehrlich White, The Art Bulletin, Vol. 51, No. 4 (Dec., 1969), pp. 333-351 (29 pages) p.350

Mythology, figures of ancient tragedy, (Project for Oedipus), 1895, oil on Canvas, 41,2 x 24,4 x 2 cm, Musée Picasso, Paris, France
https://www.palazzoroverella.com/renoir-alba-di-un-nuovo-classicismo/
Mythology, figures of ancient tragedy, (Project for Oedipus), 1895, oil on Canvas, 41,2 x 24,4 x 2 cm, Musée Picasso, Paris, France
https://www.palazzoroverella.com/renoir-alba-di-un-nuovo-classicismo/

The paintings of Oedipus and Jocasta were part of a commission by Paul Sébastien Gallimard, one of the artist’s most important patrons, and a close friend. They were meant to decorate a room in Gallimard’s country house, dedicated to Greek theatre. Once more quoting Christie’s experts Renoir’s panels reveal a combination of influences, from Ancient wall painting, to Louis XVI panelling and the Directoire style of furniture and ornament. A related study depicting mythological figures that Renoir worked on for this commission is now in the collection of the Musée Picasso in Paris and was previously owned by Pablo Picasso himself. For reasons that remain unknown, the room was never completed and the panels remained in Renoir’s studio until the artist’s death. https://www.christies.com/en/auction/ancient-to-modern-art-from-the-mougins-museum-of-classical-art-part-i-29973/

Both paintings were auctioned by Christie’s on the 7th of December 2023 (Ancient to Modern Art from the Mougins Museum of Classical Art).

For a Student Activity inspired by Oedipus Rex and Jocasta by Renoir, please… Check HERE!

The Temple of Segesta by Thomas Cole

Thomas Cole, American Artist, 1801-1848
The Temple of Segesta with the Artist Sketching, circa 1842, oil on canvas, 49.8×76.5 cm, Museum of Fine Arts, Boston, USA https://en.m.wikipedia.org/wiki/File:Cole_Thomas_The_Temple_of_Segesta_with_the_Artist_Sketching_1843.jpg

O that I was there again, and in the same spirit! wrote Thomas Cole in 1834, in the letter he sent to William Dunlap, for publication in the latter’s book, the ‘History of the Rise and Progress of the Arts of Design in the United States’. The artist was fortunate to revisit Italy in 1841/42, from November 1841 through May 1842. These seven months in Italy marked one of the artist’s most productive periods, during which dozens of canvases were created, most of them showcasing the architectural glory of Italy’s antiquity. My new BLOG POST, The Temple of Segesta by Thomas Cole, features one of these paintings, presenting an intriguing example of a combined landscape and self-portrait scene! https://www.kemperartmuseum.wustl.edu/node/11262

The Temple of Segesta stands as an iconic testament to ancient Greek architecture, nestled amidst the picturesque landscapes of northwestern Sicily, in Italy. Believed to have been constructed around the 5th century BC by the Elymians, an indigenous Sicilian people, the Temple is a magnificent Doric structure that has endured centuries, maintaining its grandeur and allure. The temple’s majestic columns, characterized by their timeless simplicity, rise proudly against the backdrop of rolling hills, creating a scene of remarkable historical resonance. Surrounded by an aura of mystery, the Temple of Segesta invites visitors to embark on a journey through the remnants of classical antiquity, offering a glimpse into the rich cultural tapestry of the region. Its enduring presence and architectural splendor make the Temple of Segesta a captivating destination for history enthusiasts and admirers, like Thomas Cole, of ancient civilizations alike.

Temple of Segesta Seen from the site of the ancient town, built in the 420s BC, Sicily, Italy https://commons.wikimedia.org/wiki/File:Segesta-bjs-1.jpg

The Temple of Segesta by Thomas Cole, housed in the Metropolitan Museum of Art in New York City, is a captivating artistic rendition that brings the ancient structure to life on canvas. Executed during the artist’s visit to Italy in 1841/42, the painting reflects Cole’s mastery in capturing the essence of historical and architectural marvels. The Temple of Segesta, with its majestic silhouette, becomes a focal point within the artwork, surrounded by the lush landscapes that often characterize Cole’s romanticized depictions. The meticulous attention to detail and the play of light and shadow in the painting evoke a sense of timelessness, transporting viewers to the ancient realm of Segesta.

A fascinating element unfolds as the artist ingeniously incorporates a self-portrait within the scene. The composition subtly reveals Cole in the act of sketching, positioned within the broader landscape of the ancient temple. Through skillful brushstrokes and nuanced details, Cole captures himself engaged in the artistic process, seamlessly blending the realms of creation and observation. The inclusion of the self-portrait adds a layer of narrative depth, inviting viewers to contemplate the intersection of the artist’s presence with the historical and architectural subject matter. This deliberate inclusion not only showcases Cole’s technical prowess but also provides a unique perspective into the artist’s connection with the Temple of Segesta, creating a dynamic interplay between the observer, the artist, and the timeless beauty of the depicted scene.

As a part of the Metropolitan Museum’s collection, this painting not only preserves the beauty of the Temple of Segesta but also serves as a testament to Thomas Cole’s enduring legacy of capturing the spirit of both nature and history through his art.

Thomas Cole, born on February 1, 1801, in Bolton-le-Moors, Lancashire, England, emerged as a prominent figure in 19th-century American art, particularly as the founder of the Hudson River School. Emigrating to the United States with his family in 1818, Cole’s early artistic endeavors unfolded in Philadelphia before he gained recognition for his landscape paintings that depicted the American wilderness in its sublime beauty. His career took a significant turn when he traveled to Europe in the 1820s, absorbing the influences of European art and cultivating a deep appreciation for classical and historical subjects. Returning to the U.S., Cole’s panoramic landscapes, marked by meticulous detail and romanticism, established him as a leading artist of his time. Notable works like “The Course of Empire” series and his depictions of the Catskill Mountains solidified his reputation. Thomas Cole’s untimely death in 1848 marked the conclusion of a prolific career that left an indelible mark on American landscape painting, inspiring generations of artists to come.

For a Student Activity inspired by Thomas Cole’s landscape paintings, please… Check HERE!

Interesting to read: History of the Rise and Progress of the Arts of Design in the United States, by William Dunlop, in 2 Volumes, George P. Scott and Company, Printers, 1834 https://books.google.gr/books?id=tJNAAAAAYAAJ&pg=PA364&lpg=PA364&dq=%E2%80%9CO+that+I+was+there+again,+and+in+the+same+spirit!%E2%80%9D&source=bl&ots=F_JtbUxzrG&sig=ACfU3U0zijol2CsenuZbywUHWpAkvYNP0w&hl=el&sa=X&ved=2ahUKEwi6xKiZyfeCAxXoR_EDHejjAKgQ6AF6BAgJEAM#v=onepage&q=%E2%80%9CO%20that%20I%20was%20there%20again%2C%20and%20in%20the%20same%20spirit!%E2%80%9D&f=false

Gold Medallion of Saint John the Forerunner

Medallion with Saint John the Baptist from an Icon Frame, ca. 1100, Gold, silver, and enamel worked in cloisonné, Diam: 8.3 cm, the MET, NY, USA
https://www.metmuseum.org/art/collection/search/464550

On the 7th of January, the Feast Day of Saint John the Baptist, the Greek Orthodox Church celebrates a significant figure in the Christian tradition. His Apolytikio is a testimony to his elevated status… The memory of the just is celebrated with hymns of praise, but the Lord’s testimony is sufficient for thee, O Forerunner; for thou hast proved to be truly even more venerable than the Prophets, since thou was granted to baptize in the running waters Him Whom they proclaimed. The Gold Medallion of Saint John the Forerunner in the MET is evidence of his importance in the arts. https://www.oramaworld.com/en/p/210255/Saint_John_the_Baptist_-_Aged_Byzantine_Icon

Saint John the Forerunner holds a prominent place in Christian iconography, his imagery rich with symbolic significance. The Icon of John baptizing Jesus in the Jordan River is a powerful representation of his pivotal role in preparing the way for the Savior. The lamb, a common element in depictions of John, symbolizes Christ as the “Lamb of God” who takes away the sins of the world. This type of artwork not only emphasizes John’s humility in recognizing Christ’s divine nature but also underscores the transformative nature of baptism. In Christian art, Saint John the Baptist serves as a bridge between the Old and New Testaments, symbolizing the transition from the era of prophets to the advent of the Messiah. His portrayal in religious art continues to inspire contemplation on themes of repentance, humility, and the heralding of spiritual renewal.

Today’s BLOG POST presents a MET treasure, a small Gold Medallion with Saint John the Forerunner in the Cloisonné technique, a traditional practice in art and metalwork, often associated with Byzantine art.

The MET Medallion of Saint John, along with eight more, was part of the decoration of a precious Frame for an Icon dedicated to the Archangel Gabriel, possibly a gift from the Byzantine court to the neighboring Christian state of Georgia. These types of medallions are valued not only for their aesthetic beauty but also for their historical and cultural significance, offering insights into the artistic achievements of the Byzantine Empire. https://www.metmuseum.org/art/collection/search/464550

Medallions from an Icon Frame, made in Constantinople ca. 1100, the MET, NY, USA https://www.metmuseum.org/art/collection/search/464550

The Precious Frames of Icons serve to underscore the icon’s significance, imparting both aesthetic appeal and worldly value to its religious status. Positioned at the upper narrow side of the frame, MET experts have identified three Roundels featuring Christ at the center. He is unmistakably distinguished by His cross-nimbus, extending a blessing with His right hand while cradling a Gospel book in His left. Flanking Him are the Medallions of the Mother of God (recognized by the Orthodox abbreviation ‘ΜΗΤΗΡ ΘΕΟΥ’) to His right and that of John the Forerunner (the standard Orthodox title for John the Baptist) to His left. These three figures, adopting a posture of intercession, collectively constitute the ‘Deesis,’ a term translating to ‘prayer’ or ‘supplication’ in Greek. For Byzantine iconography, ‘Deesis’ scenes, portray Christ as the divine judge and mediator between humanity and God, with Mary and John serving as the most effective intercessors for humankind alongside Christ. In essence, the ‘Deesis’ scene stands as a potent visual representation of the Byzantine Christian understanding of divine mercy, intercession, and the final judgment, positioning Christ at the epicenter of authority and mediation.

The remaining MET Medallions on the discussed Icon Frame depict the hierarchical arrangement of the Church. Positioned just beneath the ‘Deesis’ scene are the Apostles Saints Peter and Paul. Below the Medallion of Saint Paul, one finds the two Evangelists, Saints Matthew and Luke. Saint John the Theologian is situated beneath Saint Peter, and at the bottom narrow side of the Frame, we encounter the depiction of the military Saint, George.

For a Student Activity inspired by the Gold Medallion of Saint John the Forerunner in the MET, please… Check HERE!

Cloisonné is a decorative technique that involves the use of enamel, gemstones, or glass to fill compartments (cloisons) created by metal wires or strips on a metal surface. The word “cloisonné” comes from the French word for compartment. This technique was widely used in the Byzantine Empire, particularly in creating intricate designs on metal objects like jewelry, religious artifacts, and decorative items. The spaces, or cloisons, are filled with colorful enamel, creating a vibrant and detailed surface.

House of the Doves in Pompeii

Mosaic Emblema with Doves on a Water Basin, 1st century BC, Room ‘n’ House of Doves in Pompeii (Region VIII, 2-34), now in Naples Archaeological Museum, Italy https://commons.wikimedia.org/wiki/Category:Doves_drinking_at_a_golden_basin,_mosaic_(from_Pompeii)#/media/File:Doves_at_a_Basin,_Mosaic.jpg

The dove, revered across cultures and religions, stands as a powerful symbol of Peace, Purity, and Hope. With its gentle demeanor and graceful flight, the dove has been a timeless emblem of tranquility and reconciliation. In various ancient mythologies, the dove has been linked to goddesses of love and fertility, like Inanna/Ishtar in Mesopotamia, or Aphrodite in Greece, adding a dimension of divine love to its symbolism. The dove’s appearance in the biblical story of Noah’s Ark further solidified its association with peace and new beginnings, as it returned to Noah carrying an olive branch, signaling the end of the flood. In Christianity, it gained prominence as a symbol of the Holy Spirit, often depicted during significant moments like the baptism of Jesus. Beyond religious contexts, the dove has become a universal icon for peace movements and humanitarian causes, transcending borders and languages to convey a shared aspiration for harmony in the world. As we usher in the New Year, let the beautiful mosaic of Doves in the House of the Doves in Pompeii serve as a heartfelt message for peace and prosperity in the coming year! May the spirit of these doves inspire moments of serenity and abundance in your life as we embark on this fresh journey together.

The House of the Doves (Casa delle Colombe or Casa di V. Popidius) is a captivating ancient Roman residence located in the archaeological site of Pompeii. Situated in the southwestern part of the city (Regio VIII, 2-34), this well-preserved house offers a glimpse into the lifestyle of the Pompeian elite during the first century AD. The house derives its name from a stunning mosaic that adorns one of its rooms (Room ‘n’ in Plan), featuring six Doves in various poses, around a water basin. Its layout is typical of Roman homes, with a central atrium surrounded by rooms adorned with frescoes, mosaics, and other ornate decorations. The architectural and artistic elements found within the house provide valuable insights into the aesthetics and daily life of Pompeii’s ancient inhabitants, making it a fascinating destination for archaeologists, historians, and visitors alike.

The intricate Mosaic Emblema featuring three doves perched on the rim of a golden water basin supported by lion’s feet, with a fourth dove gracefully descending and two more resting on the shelf below, is just one among the numerous exquisite details that distinguish this particular residence. Unearthed during the March 1885 excavation season in Room ‘n,’ an oecus or triclinium located in the southeast corner of the house’s atrium, the impressive mosaic is currently on display at the Naples Archaeological Museum. https://mann-napoli.it/en/mosaici-2/

The room’s floor, hardly preserved today, was made of a white mosaic with small tesserae without any border. In the center, the Emblema with the Doves is believed to derive from a model by the famed mosaicist Sosus of Pergamon (εκ Περγάμου ψηφιδογράφος Σώσος), an artist discussed and much admired by Pliny the Elder.

Sosus of Pergamon, a renowned Hellenistic mosaicist, left an indelible mark on the ancient world with his extraordinary mosaic artworks. Pliny describes Hellenistic mosaic making and Sosus’s accomplishments as …Paved floors originated among the Greeks and were skilfully embellished with a kind of paintwork until this was superseded by mosaics. In this latter field the most famous exponent was Sosus, who at Pergamum created a greatly admired mosaic of a Dove… in the act of drinking, and throwing the shadow of its head upon the water; while other birds are to be seen sunning and pluming themselves, on the margin of a drinking-bowl. https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.02.0137%3Abook%3D36%3Achapter%3D60

While none of Sosus’s original works have withstood the test of time, his renown persists through the admiration of later artists and historians. His impact on the art of mosaic has created a lasting legacy, inspiring subsequent generations and enriching the intricate tapestry of Hellenistic artistic achievement. The question arises: is the Pompeiian Mosaic of Doves a reproduction of Sosus’s renowned Hellenistic mosaic? An affirmative response is quite likely.

Wishing you a joyous and fulfilling New Year filled with Harmony and Happiness!

Behold, I send you forth as sheep in the midst of wolves: be ye therefore wise as serpents, and harmless as doves (Matthew 10:16)… https://www.biblegateway.com/passage/?search=Matthew%2010%3A16&version=NIV

For a Student Activity, inspired by the beautiful mosaic of Doves in the House of the Doves in Pompeii, please… Check HERE!

A reference to the legendary Hellenistic Mosaicist Sosus (εκ Περγάμου ψηφιδογράφος Σώσος), can be accessed in a former Teacher Curator BLOG POST titled Heraklitos and the Asarotos Oikos Mosaic… https://www.teachercurator.com/art/heraklitos-and-the-asarotos-oikos-mosaic/

Michael Attaleiates’s Ring at Dumbarton Oaks

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
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

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 15th 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!