#artist: johann liss

[about-suffering]

Judith in the Tent of Holofernes, c. 1622 Johann Liss (c. 1595 - 1631)

[cma-european-art]

Cupid (Amor), Johann Liss , c. 1630, Cleveland Museum of Art: European Painting and Sculpture

Johann Liss studied in Holland and Antwerp, and later (about 1620) traveled to Rome and Venice. This painting of Cupid—also known as Amor, the god of love—reflects the artist’s skillful synthesis of diverse artistic influences to create his own unique style. The painting’s rich colors and fluid brushwork are influenced by past Venetian masters (Titian, Tintoretto, or Veronese), while the deep contrasts of light and shadow reveal a stylistic debt to Caravaggio. The directness of Cupid’s gaze and the concentrated energy of his pose create a strong connection with the viewer. Size: Framed: 108 x 86 x 6.5 cm (42 1/2 x 33 7/8 x 2 9/16 in.); Unframed: 87.7 x 65.7 cm (34 1/2 x 25 7/8 in.) Medium: oil on canvas

https://clevelandart.org/art/1971.100

[patricksartreview]

Virtual Sketchbook 3

I have recently visited The Ringling and my experience was great, it was interesting to see art being presented at a museum and to see art that was made in the 15th century through the 18th century. There was one piece of art that caught my attention, and it was a piece from the 17th century called The Vision of Saint Jerome, it is believed to be from c. 1625, and the artist who made it was Johann Liss, he was a German painter that was known to be in Antwerp, Rome, and Venice. When looking at art in person it is a unique experience, I felt like I was looking at history, even though some repairs that have been done to the paintings are visible, it still really gave me an idea of what the past was like for some people. Also, it is amazing to look at something that old and to know that an artist made it that long ago and it makes me think what it would have been like to live in the same time period as the artist was when he or she was making the painting. In my own words these paintings show visions of the past and that’s what makes it so interesting to me.

The painting is made of cotton-linen canvas and its medium is Oil on canvas, it is a big painting when looking at it in person, its dimensions are 88.5 in x 68.8 in. I noticed that there are brilliant colors especially at the top of the painting, there are colors like white, red, blue, brown, yellow, and black that make up the painting. When looking at it closely you can see the brushwork done on it, you can see the Roman chiaroscuro in it which means the painting has a lot of light and shade in it with the light being at the top and the dark being at the bottom. As for the shapes, it is linear with well-defined views that are sharp. Also, Saint Jerome looks like a Greek statue with his muscular form, the painting really looks like it has Roman influence and that can help give a good idea of what the people look like in the painting. The subject of the painting is Saint Jerome who is the patron saint for libraries, it shows major parts of his life, like the desert, the books and quills shows that he was a scholar, the robes shows that he was a doctor for the church, it also shows the lion that had the thorn in his paw and Saint Jerome pulled it out. I think this painting was made to show the dream that Saint Jerome had when he was sick, and in that dream, he saw God. The painting is well balanced with light and dark colors, which help give it unity, and the movement of Saint Jerome and his robes show the rhythm of the piece.

This work makes me feel like I'm looking back in time as if I were a monk in a monastery, this painting is very religious and beautiful. I think the movement of the dark and light colors help evoke these feelings for me, just the way the whole painting is made up helps give off these feelings, especially Saint Jerome when he is looking up at heaven which is all bright and beautiful, and when I look below, I see all his stories and dark colors too. I would say it is from the late renaissance and early Baroque and was commissioned by the Church of Saint St. Nicholas in in Venice, this artwork shows the influence religion had on the artist, I think the artist was trying to show a dream that Saint Jerome had when he was sick. I think if you read and studied Saint Jerome you would know what the painting is showing but if you didn’t know who he was then, the clear message is that God is your salvation, or to allow God into your life.

What importance I think this artwork brings to society is it can open people's eyes to God are anything humble in that remark, what I mean by that we are so influenced by T.V, social media, news, and other people's thoughts that we forget ourselves sometimes. And when looking at this painting without context and not knowing anything about it, it shows a man looking up at the sky where the light is shining brightly, I think this can help people who are in dark times find some sort of salvation. I chose this painting because I love paintings with religious context and there can be so many messages taken from it.

[harvard-art-museums-photography]

X-radiograph(s) of "The Vision of St. Jerome (copy after a painting in S. Niccolo da Tolentino, Venice)", Harvard Art Museums: Photographs

X-Radiograph Description: X-Radiograph; Details : Angels; Saint Jerome; Legs (?), stained; Woman Burroughs Number: 1269 X-Radiograph(s) of: Artist: Liss, Johann, German, 1597-1631 Title: The Vision of St. Jerome (copy after a painting in S. Ni... Harvard Art Museums/Straus Center for Conservation and Technical Studies, Alan Burroughs Collection of X-Radiographs Size: film size: 35.6 x 43.2 cm (14 x 17 in.)

https://www.harvardartmuseums.org/collections/object/344975

[terrymrriggs]

#greetings #family this is #MrRiggs giving you #information as he is in #huntingseason talking and about people’s mindsets and #overstanding the you don’t make #judgment on a #painting or #artwork on till you have you #research on the #artist and the person that #commissions the artwork for example : Johann Liss (c.1595-1631), Judith in the tent of Holofernes, c.1622. National Gallery, NG4597 The subject is from the apocryphal Book of Judith, the Old Testament heroine of the Jews in their struggle against oppression. She penetrated the camp of the Assyrian general, Holofernes, pretending to offer assistance in the siege of the city of Bethulia. Alone with the intoxicated general, following a banquet to which she had been invited, she seized his sword and cut off his head. #foodforthought #stare #stop #think before taking action #nubeginning #lifeisforliving #believeinyourself #knowthyself #history #blackhistory #thepath #hkthbaby #peace (at National Gallery)

[cma-european-art]

Cupid (Amor), Johann Liss , c. 1630, Cleveland Museum of Art: European Painting and Sculpture

Johann Liss studied in Holland and Antwerp, and later (about 1620) traveled to Rome and Venice. This painting of Cupid—also known as Amor, the god of love—reflects the artist’s skillful synthesis of diverse artistic influences to create his own unique style. The painting’s rich colors and fluid brushwork are influenced by past Venetian masters (Titian, Tintoretto, or Veronese), while the deep contrasts of light and shadow reveal a stylistic debt to Caravaggio. The directness of Cupid’s gaze and the concentrated energy of his pose create a strong connection with the viewer. Size: Framed: 108 x 86 x 6.5 cm (42 1/2 x 33 7/8 x 2 9/16 in.); Unframed: 87.7 x 65.7 cm (34 1/2 x 25 7/8 in.) Medium: oil on canvas

https://clevelandart.org/art/1971.100

[cma-european-art]

Cupid (Amor), Johann Liss , c. 1630, Cleveland Museum of Art: European Painting and Sculpture

Johann Liss studied in Holland and Antwerp, and later (about 1620) traveled to Rome and Venice. This painting of Cupid—also known as Amor, the god of love—reflects the artist’s skillful synthesis of diverse artistic influences to create his own unique style. The painting’s rich colors and fluid brushwork are influenced by past Venetian masters (Titian, Tintoretto, or Veronese), while the deep contrasts of light and shadow reveal a stylistic debt to Caravaggio. The directness of Cupid’s gaze and the concentrated energy of his pose create a strong connection with the viewer. Size: Framed: 108 x 86 x 6.5 cm (42 1/2 x 33 7/8 x 2 9/16 in.); Unframed: 87.7 x 65.7 cm (34 1/2 x 25 7/8 in.) Medium: oil on canvas

https://clevelandart.org/art/1971.100

[cma-european-art]

Cupid (Amor), Johann Liss , c. 1630, Cleveland Museum of Art: European Painting and Sculpture

Johann Liss studied in Holland and Antwerp, and later (about 1620) traveled to Rome and Venice. This painting of Cupid—also known as Amor, the god of love—reflects the artist’s skillful synthesis of diverse artistic influences to create his own unique style. The painting’s rich colors and fluid brushwork are influenced by past Venetian masters (Titian, Tintoretto, or Veronese), while the deep contrasts of light and shadow reveal a stylistic debt to Caravaggio. The directness of Cupid’s gaze and the concentrated energy of his pose create a strong connection with the viewer. Size: Framed: 108 x 86 x 6.5 cm (42 1/2 x 33 7/8 x 2 9/16 in.); Unframed: 87.7 x 65.7 cm (34 1/2 x 25 7/8 in.) Medium: oil on canvas

https://clevelandart.org/art/1971.100

[cma-european-art]

Cupid (Amor), Johann Liss , c. 1630, Cleveland Museum of Art: European Painting and Sculpture

Johann Liss studied in Holland and Antwerp, and later (about 1620) traveled to Rome and Venice. This painting of Cupid—also known as Amor, the god of love—reflects the artist’s skillful synthesis of diverse artistic influences to create his own unique style. The painting’s rich colors and fluid brushwork are influenced by past Venetian masters (Titian, Tintoretto, or Veronese), while the deep contrasts of light and shadow reveal a stylistic debt to Caravaggio. The directness of Cupid’s gaze and the concentrated energy of his pose create a strong connection with the viewer. Size: Framed: 108 x 86 x 6.5 cm (42 1/2 x 33 7/8 x 2 9/16 in.); Unframed: 87.7 x 65.7 cm (34 1/2 x 25 7/8 in.) Medium: oil on canvas

https://clevelandart.org/art/1971.100

[cma-european-art]

Cupid (Amor), Johann Liss , c. 1630, Cleveland Museum of Art: European Painting and Sculpture

Johann Liss studied in Holland and Antwerp, and later (about 1620) traveled to Rome and Venice. This painting of Cupid—also known as Amor, the god of love—reflects the artist’s skillful synthesis of diverse artistic influences to create his own unique style. The painting’s rich colors and fluid brushwork are influenced by past Venetian masters (Titian, Tintoretto, or Veronese), while the deep contrasts of light and shadow reveal a stylistic debt to Caravaggio. The directness of Cupid’s gaze and the concentrated energy of his pose create a strong connection with the viewer. Size: Framed: 108 x 86 x 6.5 cm (42 1/2 x 33 7/8 x 2 9/16 in.); Unframed: 87.7 x 65.7 cm (34 1/2 x 25 7/8 in.) Medium: oil on canvas

https://clevelandart.org/art/1971.100

[cma-european-art]

Cupid (Amor), Johann Liss , c. 1630, Cleveland Museum of Art: European Painting and Sculpture

Johann Liss studied in Holland and Antwerp, and later (about 1620) traveled to Rome and Venice. This painting of Cupid—also known as Amor, the god of love—reflects the artist’s skillful synthesis of diverse artistic influences to create his own unique style. The painting’s rich colors and fluid brushwork are influenced by past Venetian masters (Titian, Tintoretto, or Veronese), while the deep contrasts of light and shadow reveal a stylistic debt to Caravaggio. The directness of Cupid’s gaze and the concentrated energy of his pose create a strong connection with the viewer. Size: Framed: 108 x 86 x 6.5 cm (42 1/2 x 33 7/8 x 2 9/16 in.); Unframed: 87.7 x 65.7 cm (34 1/2 x 25 7/8 in.) Medium: oil on canvas

https://clevelandart.org/art/1971.100

[cma-european-art]

Cupid (Amor), Johann Liss , c. 1630, Cleveland Museum of Art: European Painting and Sculpture

Johann Liss studied in Holland and Antwerp, and later (about 1620) traveled to Rome and Venice. This painting of Cupid—also known as Amor, the god of love—reflects the artist’s skillful synthesis of diverse artistic influences to create his own unique style. The painting’s rich colors and fluid brushwork are influenced by past Venetian masters (Titian, Tintoretto, or Veronese), while the deep contrasts of light and shadow reveal a stylistic debt to Caravaggio. The directness of Cupid’s gaze and the concentrated energy of his pose create a strong connection with the viewer. Size: Framed: 108 x 86 x 6.5 cm (42 1/2 x 33 7/8 x 2 9/16 in.); Unframed: 87.7 x 65.7 cm (34 1/2 x 25 7/8 in.) Medium: oil on canvas

https://clevelandart.org/art/1971.100

[cma-european-art]

Cupid (Amor), Johann Liss , c. 1630, Cleveland Museum of Art: European Painting and Sculpture

Johann Liss studied in Holland and Antwerp, and later (about 1620) traveled to Rome and Venice. This painting of Cupid—also known as Amor, the god of love—reflects the artist’s skillful synthesis of diverse artistic influences to create his own unique style. The painting’s rich colors and fluid brushwork are influenced by past Venetian masters (Titian, Tintoretto, or Veronese), while the deep contrasts of light and shadow reveal a stylistic debt to Caravaggio. The directness of Cupid’s gaze and the concentrated energy of his pose create a strong connection with the viewer. Size: Framed: 108 x 86 x 6.5 cm (42 1/2 x 33 7/8 x 2 9/16 in.); Unframed: 87.7 x 65.7 cm (34 1/2 x 25 7/8 in.) Medium: oil on canvas

https://clevelandart.org/art/1971.100

[cma-european-art]

Cupid (Amor), Johann Liss , c. 1630, Cleveland Museum of Art: European Painting and Sculpture

Johann Liss studied in Holland and Antwerp, and later (about 1620) traveled to Rome and Venice. This painting of Cupid—also known as Amor, the god of love—reflects the artist’s skillful synthesis of diverse artistic influences to create his own unique style. The painting’s rich colors and fluid brushwork are influenced by past Venetian masters (Titian, Tintoretto, or Veronese), while the deep contrasts of light and shadow reveal a stylistic debt to Caravaggio. The directness of Cupid’s gaze and the concentrated energy of his pose create a strong connection with the viewer. Size: Framed: 108 x 86 x 6.5 cm (42 1/2 x 33 7/8 x 2 9/16 in.); Unframed: 87.7 x 65.7 cm (34 1/2 x 25 7/8 in.) Medium: oil on canvas

https://clevelandart.org/art/1971.100

[cma-european-art]

Cupid (Amor), Johann Liss , c. 1630, Cleveland Museum of Art: European Painting and Sculpture

Johann Liss studied in Holland and Antwerp, and later (about 1620) traveled to Rome and Venice. This painting of Cupid—also known as Amor, the god of love—reflects the artist’s skillful synthesis of diverse artistic influences to create his own unique style. The painting’s rich colors and fluid brushwork are influenced by past Venetian masters (Titian, Tintoretto, or Veronese), while the deep contrasts of light and shadow reveal a stylistic debt to Caravaggio. The directness of Cupid’s gaze and the concentrated energy of his pose create a strong connection with the viewer. Size: Framed: 108 x 86 x 6.5 cm (42 1/2 x 33 7/8 x 2 9/16 in.); Unframed: 87.7 x 65.7 cm (34 1/2 x 25 7/8 in.) Medium: oil on canvas

https://clevelandart.org/art/1971.100

[cma-european-art]

Cupid (Amor), Johann Liss , c. 1630, Cleveland Museum of Art: European Painting and Sculpture

Johann Liss studied in Holland and Antwerp, and later (about 1620) traveled to Rome and Venice. This painting of Cupid—also known as Amor, the god of love—reflects the artist’s skillful synthesis of diverse artistic influences to create his own unique style. The painting’s rich colors and fluid brushwork are influenced by past Venetian masters (Titian, Tintoretto, or Veronese), while the deep contrasts of light and shadow reveal a stylistic debt to Caravaggio. The directness of Cupid’s gaze and the concentrated energy of his pose create a strong connection with the viewer. Size: Framed: 108 x 86 x 6.5 cm (42 1/2 x 33 7/8 x 2 9/16 in.); Unframed: 87.7 x 65.7 cm (34 1/2 x 25 7/8 in.) Medium: oil on canvas

https://clevelandart.org/art/1971.100