Friday, April 5, 2024

01 Icon, Mariotto di Nardo di Cione's Stations of the Cross, Nothing has changed in over 2000 years, with footnotes #79

Mariotto di Nardo di Cione
Stations of the Cross
Officina di Santa Maria Novella

"Again, my son fell, and again my grief was overwhelming at the thought that he might die. I started to move toward him, but the soldiers prevented me."  

The Via Dolorosa (Stations of the Cross) is a processional route in the Old City of Jerusalem. It represents the path that Jesus took, forced by the soldiers, on the way to his crucifixion. The winding route from the former Antonia Fortress to the Church of the Holy Sepulchre—a distance of about 600 metres (2,000 ft) is a celebrated place of Christian pilgrimage. The current route has been established since the 18th century, replacing various earlier versions. It is today marked by 14 Stations of the Cross, nine of which are outside, in the streets, with the remaining five stations being currently inside the Church of the Holy Sepulchre. More on the Stations of the Cross

Mariotto di Nardo di Cione, (active 1394, Firenze, d. 1424, Firenze) was an Italian painter. He was the son of the sculptor Nardo di Cione (active c. 1380) and was probably trained by his father. Realizing his talent for painting at a young age, Mariotto established himself as a painter of frescoes and panel paintings and an illuminator of manuscripts. He was in great demand for public and private commissions. Early in his career, he became the principal artist for the cathedral in his native Florence. Following suit, most of the important churches in Florence also commissioned frescoes from him, and religious orders commissioned him to paint illuminated manuscripts. He worked in Santa Maria Maggiore and at Orsanmichele.

Mariotto's interest in sculpture and his almost obsessive rendering of plastic form in painting remain constant factors in his style, which is easily identifiable and markedly different from that of his contemporaries. He worked in a conservative style with a capacity for clear story-telling, without ornament or fantasy. More on Mariotto di Nardo di Cione




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Saturday, October 21, 2023

01 Religious Icon, SUNIL DAS' CHRIST, 2006, with footnotes #39

SUNIL DAS (1939 - 2015)
CHRIST, c. 2006
Acrylic on canvas
35.5 x 29.75 in   |  90 x 75.5 cm
Private collection

Estimate for $6,175-$7,410 in October 2022

Sunil Das was born in 1939 in Kolkata. He studied at the Government College of Arts and Craft, Calcutta. He also won the French Government Scholarship to study at the Ecole National des Beaux Arts in 1960. He has 50 solo shows to his credit. The artist has participated in several exhibitions in India and abroad. His works have been included in the Biennales of Paris, Dacca, and Tokyo.

He has served as Commissioner to the Sao Paulo Biennale and was member of the jury of the prix des étrangers’, Paris. Sunil Das received National Award (the Shiromani Kala Puraskar) in 1959. In fact, he has the distinction of being the only Indian artist to have won a National Award, while still an undergraduate at the Government College of Art and Craft, Kolkata. His works hold an important place in several collections in India as well as abroad.

Sunil is an artist who always had a great control over his lines. Even though today he is best known for his bulls, his faces as well as other animals and human forms are par excellence making him one of the most sought-after artists in his generation. He is regarded as one of India’s most important post-modernist painters who rose to prominence with his drawings of horses. More on Sunil Das




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Friday, September 22, 2023

01 Religious Icon, St. Cajetan, from Spanish Colonial Mexico, with footnotes #38

19th C. Mexican Spanish Colonial Painting
St. Cajetan
Painted on wood
33.3" L x 25.25" W (84.6 cm x 64.1 cm)
Private collection

Sold for $1,400 USD in September 2022

Spanish Colonial, Mexico, 19th century. A large Spanish Colonial painting on canvas depicting Saint Cajetan (San Cayetano). He wears the black robe of his order and a luxurious bejeweled chain thought to symbolize either his rejection of wealth since the Theatines took vows of poverty, his aristocratic upbringing as Count of Thiene, or his leadership of his order. The Crucifixion behind him refers to the mystical crucifixion he endured when Theatine brothers wanted to transport him from the hardwood floor that he slept upon to a proper bed. 

He kneels in prayer and presents a lace scarf to the Virgin and Child; a ray of holy light runs from her hand to St. Cajetan; a ray of red blood runs from the Crucifixion to St. Cajetan. Jesus is above him and the Holy Spirit in the form of a white dove flies toward the Madonna. More on this icon

Gaetano dei Conti di Thiene (6 October 1480 – 7 August 1547), known as Saint Cajetan, was an Italian Catholic priest and religious reformer, co-founder of the Theatines. He is recognised as a saint in the Catholic Church, and his feast day is 7 August.

Cajetan was born in October 1480, the son of Gaspar, lord of Thiene, and Mary Porta, persons of the first rank among the nobility of the territory of Vicenza, in Veneto Region.

His father died when he was two years of age. Quiet and retiring by nature, he was predisposed to piety by his mother. Cajetan studied law in Padua, receiving his degree as doctor utriusque juris (i.e., in civil and canon law) at age 24. In 1506 he worked as a diplomat for Pope Julius II, with whom he helped reconcile the Republic of Venice. But he was not ordained a priest until the year 1516.

With the death of Pope Julius II in 1513, Cajetan withdrew from the papal court. Recalled to Vicenza by the death of his mother, he founded in 1522 a hospital for incurables there. By 1523 he had established a hospital in Venice, as well. His interests were as much or more devoted to spiritual healing than the physical kind, and he joined a confraternity in Rome called the "Oratory of Divine Love". He intended to form a group that would combine the spirit of monasticism with the exercises of the active ministry.

In 1533 he founded a house in Naples. The year 1540 found him in Venice again and from there he extended his work to Verona. He founded a bank to help the poor and offer an alternative to usurers. It later became the Banco di Napoli.

Cajetan died in Naples on 7 August 1547. His remains are in the church of San Paolo Maggiore in Naples; outside the church is Piazza San Gaetano, with a statue. More on Gaetano dei Conti di Thiene




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Friday, August 18, 2023

01 Religious Icon, Andrei Rublev's Trinity, with footnotes #37

Andrei Rublev  (–1430)
The Trinity, c. between 1408 and 1427
Rublev's famous icon showing the three Angels being hosted by Abraham at Mambré
Tempera on panel
height: 141.5 cm (55.7 in); width: 114 cm (44.8 in)
Tretyakov Gallery

The Trinity was painted on a vertically aligned board. It depicts three angels sitting at a table. On the table, there is a cup containing the head of a calf. In the background, Rublev painted a house (supposedly Abraham's house), a tree (the Oak of Mamre), and a mountain (Mount Moriah). The figures of angels are arranged so that the lines of their bodies form a full circle. The middle angel and the one on the left bless the cup with a hand gesture. There is no action or movement in the painting. The figures gaze into eternity in the state of motionless contemplation.

The icon is based on a story from the Book of Genesis called Abraham and Sarah's Hospitality or The Hospitality of Abraham. It says that the biblical Patriarch Abraham 'was sitting at the door of his tent in the heat of the day' by the Oak of Mamre and saw three men standing in front of him, who in the next chapter were revealed as angels. 'When he saw them, Abraham ran from the tent door to meet them and bowed himself to the earth.' Abraham ordered a servant-boy to prepare a choice calf, and set curds, milk and the calf before them, waiting on them, under a tree, as they ate. One of the angels told Abraham that Sarah would soon give birth to a son. More on The Trinity

Andrei Rublev was a Muscovite icon painter born in the 1360s who died between 1427 and 1430 in Moscow. He is considered to be one of the greatest medieval Russian painters of Orthodox Christian icons and frescos.

Little information survives about his life; even where he was born is unknown. The first mention of Rublev is in 1405, when he decorated icons and frescos for the Cathedral of the Annunciation of the Moscow Kremlin, in company with Theophanes the Greek and Prokhor of Gorodets. Theophanes was an important Byzantine master, who moved to Russia and is considered to have trained Rublev.

Chronicles tell us that together with Daniel Chorny he painted the Assumption Cathedral in Vladimir in 1408 as well as the Trinity Cathedral in the Trinity Lavra of St. Sergius between 1425 and 1427. After Daniel's death, Andrei came to Moscow's Andronikov Monastery where he painted his last work, the frescoes of the Saviour Cathedral. He is also believed to have painted at least one of the miniatures in the Khitrovo Gospels.

The only work authenticated as entirely his is the icon of the Trinity (c. 1410, currently in the Tretyakov Gallery, Moscow). It is based on an earlier icon known as the "Hospitality of Abraham". Rublev removed the figures of Abraham and Sarah from the scene, and through a subtle use of composition and symbolism changed the subject to focus on the Mystery of the Trinity.

In Rublev's art two traditions are combined: the highest asceticism and the classic harmony of Byzantine mannerism. The characters of his paintings are always peaceful and calm. After some time his art came to be perceived as the ideal of Eastern Church painting and of Orthodox iconography. More on Andrei Rublev




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Friday, August 11, 2023

01 Religious Icon, The Ladder of Divine Ascent, with footnotes #38

Unknown artist
Ladder of Divine Ascent, c. 12th century
Saint Catherine Monastery

The Ladder of Divine Ascent or The Ladder of Paradise. A 12th-century icon described by John Climacus. Monastery of St Catherine, Mount Sinai. St John Climacus described the Christian life as a ladder with thirty rungs. The monks are tempted by demons and encouraged by angels, while Christ welcomes them at the summit. More on this work

The Ladder of Divine Ascent, or Ladder of Paradise, is an important ascetical treatise for monasticism in Eastern Christianity written by John Climacus in ca. AD 600 at the request of John, Abbot of Raithu, a monastery located on the shores of the Red Sea.

The Scala, which obtained an immense popularity and has made its author famous in the Church, is addressed to anchorites and cenobites and treats of the means by which the highest degree of religious perfection may be attained. Divided into thirty parts, or "steps", in memory of the thirty years of the life of Christ, the Divine model for the faithful Christian, it presents a picture of all the virtues and contains a great many parables and historical touches, drawn principally from the monastic life, and exhibiting the practical application of the precepts.

At the same time, as the work is mostly written in a concise, sententious form, with the aid of aphorisms, and as the reasonings are not sufficiently closely connected, it is at times somewhat obscure. This explains its having been the subject of various commentaries, even in very early times. The most ancient of the manuscripts containing the Scala is found in the Bibliothèque Nationale in Paris and was probably brought from Florence by Catherine de' Medici. In some of these manuscripts, the work bears the title of "Spiritual Tables" More on The Ladder of Divine Ascent




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Friday, July 28, 2023

07 Religious Icons, The Meister von Meßkirch's Falkenstein Altar, Saint Anne, Saint Elmo, Saint George, Saint Christopher, Roch, John the Baptist and Andrew the Apostle, with footnotes #36

Master of Messkirch  (fl. 1520–1540)
Falkenstein Altarpiece, c. after 1530
Tempera on softwood
Johanniterkirche, Johanniterhalle Schwäbisch Hall

The Master of Meßkirch (German: Meister von Meßkirch; active c. 1515 - 1540) was an anonymous German Renaissance painter.

The so-called Master of Meßkirch is named after the eleven altarpieces he painted for the St. Martin church in Meßkirch between 1536 and 1540. His birthplace and apprenticeship are unknown, but he may have studied under an artist from the circle of Albrecht Dürer, such as Hans von Kulmbach or Hans Leonhard Schäufelein. From the 1530s onwards his works seem to display familiarity with contemporary northern Italian paintings. 

Throughout the master's career his figures had Manneristic proportions. While early on his colors were bright and iridescent, his coloration became calmer and more muted in his last years. More on The Master of Meßkirch

Master of Messkirch  (fl. 1520–1540)
Falkenstein Altarpiece, c. after 1530
Top Center; Virgin, Child and St Anne

Saint Anne (also known as Ann or Anna) of David's house and line, was the mother of the Virgin Mary and grandmother of Jesus Christ, according to apocryphal Christian and Islamic tradition. Mary's mother is not named in the canonical gospels, nor in the Qur'an. Anne's name and that of her husband Joachim come only from New Testament apocrypha, of which the Protoevangelium of James (written perhaps around 150) seems to be the earliest that mentions them. More on Saint Anne

Master of Messkirch  (fl. 1520–1540)
Falkenstein Altarpiece, c. after 1530
Soft wood
height: 49 cm (19.2 in); width: 27 cm (10.6 in)
Top Right; St. Erasmus

Erasmus of Formia, also known as Saint Elmo (died c. 303), was a Christian saint and martyr. He is venerated as the patron saint of sailors and abdominal pain. Erasmus or Elmo is also one of the Fourteen Holy Helpers, saintly figures of Christian tradition who are venerated especially as intercessors. More on St. Erasmus

Master of Messkirch  (fl. 1520–1540)
Falkenstein Altarpiece, c. after 1530
Soft wood
height: 49 cm (19.2 in); width: 27 cm (10.6 in)
Top Left; St. George


Saint George (circa 275/281 – 23 April 303 AD) was a soldier in the Roman army who later became venerated as a Christian martyr. His parents were Christians of Greek background; his father Gerontius was a Roman army official from Cappadocia and his mother Polychronia was from Lydda, Syria Palaestina. Saint George became an officer in the Roman army in the Guard of Diocletian, who ordered his death for failing to recant his Christian faith.
 
In the fully developed Western version of the Saint George Legend, a dragon, or crocodile, makes its nest at the spring that provides water for the city of "Silene" (perhaps modern Cyrene in Libya or the city of Lydda in Palistine, depending on the source). Consequently, the citizens have to dislodge the dragon from its nest for a time, to collect water. To do so, each day they offer the dragon at first a sheep, and if no sheep can be found, then a maiden is the best substitute for one. The victim is chosen by drawing lots. One day, this happens to be the princess. The monarch begs for her life to be spared, but to no avail. She is offered to the dragon, but then Saint George appears on his travels. He faces the dragon, protects himself with the sign of the Cross, slays the dragon, and rescues the princess. The citizens abandon their ancestral paganism and convert to Christianity. More on Saint George 

Master of Messkirch  (fl. 1520–1540)
Falkenstein Altarpiece, c. after 1530
Soft wood
height: 49 cm (19.2 in); width: 27 cm (10.6 in)
Bottom Left: St. Christopher

Saint Christopher is venerated as a martyr killed in the reign of the 3rd-century Roman Emperor Decius,) or alternatively under the Roman Emperor Maximinus II Dacian. There appears to be confusion due to the similarity in names "Decius" and "Dacian". However his veneration only appears late in Christian tradition, and did not become widespread in the Western Church until the Late Middle Ages, although churches and monasteries were named after him by the 7th century.

It is disputed whether Christopher existed, and if so whether the name applied to a specific person or was a general title meaning "Christ-bearer" which was applied to several different real or legendary people. He may be the same figure as Saint Menas. His most famous legend, which is mainly known from the West and may draw from Ancient Greek mythology, tells that he carried a child, who was unknown to him, across a river before the child revealed himself as Christ. Therefore, he is the patron saint of travelers. More Saint Christopher

Master of Messkirch  (fl. 1520–1540)
Falkenstein Altarpiece, c. after 1530
Soft wood
height: 49 cm (19.2 in); width: 27 cm (10.6 in)
Bottom Right: St. Rochus

Roch (lived c. 1348 – 15/16 August 1376/79), also called Rock in English, is a Catholic saint, a confessor whose death is commemorated on 16 August and 9 September in Italy; he is especially invoked against the plague. He has the designation of Rollox in Glasgow, Scotland, said to be a corruption of Roch's Loch, which referred to a small loch once near a chapel dedicated to Roch in 1506.

He is a patron saint of dogs, invalids, of falsely accused people, bachelors, and several other things. He is the patron saint of Dolo (near Venice) and Parma, as well as Casamassima, Cisterna di Latina and Palagiano (Italy).

Saint Roch is known as "São Roque" in Portuguese, as "Sant Roc" in Catalan, as "San Roque" in Spanish (including in former colonies of the Spanish colonial empire such as the Philippines) and as "San Rocco" in Italian. More on Saint Roch

Master of Messkirch  (fl. 1520–1540)
Falkenstein Altarpiece, c. after 1530
Soft wood
height: 49 cm (19.2 in); width: 27 cm (10.6 in)
Bottom second from left: St. John the Baptist

The story of John the Baptist is told in the Gospels. John was the cousin of Jesus, and his calling was to prepare the way for the coming of the Messiah. He lived in the wilderness of Judea between Jerusalem and the Dead Sea, "his raiment of camel's hair, and a leather girdle about his loins; and his meat was locusts and wild honey." He baptised Jesus in the Jordan.

According to the Bible, King Herod's daughter Salome requested Saint John the Baptist's beheading. She was prompted by her mother, Herodias, who sought revenge, because the prophet had condemned her incestuous marriage to Herod. More John the Baptist

Master of Messkirch  (fl. 1520–1540)
Falkenstein Altarpiece, c. after 1530
Soft wood
height: 49 cm (19.2 in); width: 27 cm (10.6 in)
Bottom second from right: St. Andrew

Andrew the Apostle (from the early 1st century – mid to late 1st century AD), also known as Saint Andrew was a Christian Apostle and the brother of Saint Peter.
The name "Andrew", like other Greek names, appears to have been common among the Jews, Christians, and other Hellenized people of Judea. No Hebrew or Aramaic name is recorded for him. According to Orthodox tradition, the apostolic successor to Saint Andrew is the Patriarch of Constantinople. More Andrew the Apostle 

The Master of Meßkirch (active c. 1515 - 1540) was an anonymous German Renaissance painter.

The so-called Master of Meßkirch is named after the eleven altarpieces he painted for the St. Martin church in Meßkirch between 1536 and 1540. His birthplace and apprenticeship are unknown, but he may have studied under an artist from the circle of Albrecht Dürer, such as Hans von Kulmbach or Hans Leonhard Schäufelein. From the 1530s onwards his works seem to display familiarity with contemporary northern Italian painting. Hans Baldung Grien was also influential to his work.

Early on he worked for Count Eitel Friedrich III of Hohenzollern in Veringenstadt. Later he was called to Meßkirch to work for Count Gottfried Werner von Zimmern.

Throughout the master's career his figures had Manneristic proportions. While early on his colors were bright and iridescent, his coloration became calmer and more muted in his last years. More on The Master of Meßkirch





Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artists365 Saints365 Days, and Biblical Icons, also visit my Boards on Pinterest

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Monday, July 10, 2023

01 Religious Icon, The Meister von Meßkirch's St. Benedict in Prayer, with footnotes #35

The Meister von Meßkirch
St. Benedict in Prayer
8"x12"
Private collection

The image shows St. Benedict praying in a cave on Mount Subasio which he fled to to escape the debauchery associated with higher education in Rome. He led a very austere life, is known for his power against demons, and is considered the Father of Western Monasticism. More on this icon

Saint Benedict founded twelve communities for monks at Subiaco, Lazio, Italy, before moving to Monte Cassino in the mountains of southern Italy. The Order of Saint Benedict is of later origin and, moreover, not an "order" as commonly understood but merely a confederation of autonomous congregations.

Benedict's main achievement, his "Rule of Saint Benedict", contains a set of rules for his monks to follow. Heavily influenced by the writings of John Cassian, it shows strong affinity with the Rule of the Master, but it also has a unique spirit of balance, moderation and reasonableness, which persuaded most Christian religious communities founded throughout the Middle Ages to adopt it. As a result, his Rule became one of the most influential religious rules in Western Christendom. For this reason, Giuseppe Carletti regarded Benedict as the founder of Western Christian monasticism. More on Saint Benedict

The Master of Meßkirch (active c. 1515 - 1540) was an anonymous German Renaissance painter.

The so-called Master of Meßkirch is named after the eleven altarpieces he painted for the St. Martin church in Meßkirch between 1536 and 1540. His birthplace and apprenticeship are unknown, but he may have studied under an artist from the circle of Albrecht Dürer, such as Hans von Kulmbach or Hans Leonhard Schäufelein. From the 1530s onwards his works seem to display familiarity with contemporary northern Italian painting. Hans Baldung Grien was also influential to his work.

Early on he worked for Count Eitel Friedrich III of Hohenzollern in Veringenstadt. Later he was called to Meßkirch to work for Count Gottfried Werner von Zimmern.

Throughout the master's career his figures had Manneristic proportions. While early on his colors were bright and iridescent, his coloration became calmer and more muted in his last years. More on The Master of Meßkirch




Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artists365 Saints365 Days, and Biblical Icons, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.