#classic pillars

[galleryofart]

Maternal Affection

Artist: Louis Jean François Lagrenée (French, 1725-1805)

Date: 1755

Medium: Oil on Copper

Collection: The National Gallery, London

Description

In this exquisite small painting on copper, three women are looking after two infants in a grand neoclassical setting. One woman breastfeeds an infant, while another holds up a second baby for a kiss. A woman to the left is busy arranging bedding in a wooden cradle. The open loggia and warm light suggest that the scene takes place in a southern climate. To an eighteenth-century audience, the women’s clothing would have been understood as antique Roman dress.

The painting shares similarities with a series of eight paintings by Lagrenée at Stourhead in Wiltshire. It may be Lagrenée’s painting formerly at Stourhead, described as ‘Maternal Affection – a beautiful group’. The subject was of special interest for a contemporary audience as motherhood, and particularly the practice of breastfeeding one’s own children rather than sending them out to a wet nurse, was much discussed in both France and England at the time.

[artandthebible]

The Adoration of the Child

Artist: Antonio da Correggio (Italian, 1489–1534)

Date: 1518-1520

Medium: Oil on Canvas

Collection: Uffizi Gallery, Florence, Italy

Description

Antonio Allegri, known as Correggio, named after his birth town, can be considered the leading figure of the renewal of early 16th century Emilian painting. Having started out in the Mantuan scene, where he had the opportunity to study illusionism based on perspective and the recovery of Mantegna’s classicism, he enhanced his expertise by learning Da Vinci’s sfumato and the Venetian tonalismo techniques. The result was a fresh, vibrant style of painting, focused on expressing the tenderness of personal relationships, and capable of winning the beholder over with its likeable spontaneous characters and precious, delicate colours.

The provenance of this painting is unknown, but we do know that the Duke of Mantua, Ferdinando Gonzaga, chose it as a gift for the Grand Duke Cosimo II de’Medici so it was definitely considered one of the painter’s masterpieces. The work came to the Uffizi in 1617 and was located in the Tribuna, where it remained until 1848. In the famous view of the ‘Tribuna of the Uffizi’ painted in 1772 by English artist Johan Zoffany, the work occupies a prominent position alongside Raphael’s ‘Madonna of the Chair’.

The subject of the painting had been quite popular in the 15th century through the works of Filippo and Filippino Lippi, who had painted several versions of it. The iconography is inspired by the vision of the birth of Christ experienced by St Bridget of Sweden in Bethlehem in 1372. In her Revelations, the saint relates that” the Virgin then took off her shoes […] knelt with great reverence as if in prayer, with her hands stretched out in front of her and, then and there, in a moment and the twinkling of an eye, she gave birth to a Son. The newborn child suddenly appeared on the ground radiating an ineffable light. When the Virgin realised that she had given birth, she said to the Child: “Welcome, my God, my Lord, and my Son!” In the clear, esoteric dawn atmosphere, a beautiful, sweet Virgin kneels in front of the newborn Child, gazing at him with tenderness. The Child is returning his mother’s gaze, reaching out his tiny hand, as babies do, as he tries to grab her robe. The intimate bond between mother and child is emphasised by the fact that the baby has been set down on a piece of his mother’s robe.

[allegorypaintings]

Allegory of Divine Providence

Artist: Ludovico Carracci (Italian, 1555–1619) Baroque

Date: 1604-1605

Medium: Oil on copper

Collection: Capitoline Museums, Rome, Italy

[royalty-nobility]

Charles VI and Count Althann of Gundak

Artist: Francesco Solimena (Neapolitan, 1657-1747)

Date: First half of the 18th century

Medium: Oil painting

Collection: Kunsthistorisches Museum Vienna, Austria

Charles VI of France

Charles VI (3 December 1368 – 21 October 1422), nicknamed the Beloved and in the 19th century and the Mad was King of France from 1380 until his death in 1422. He is known for his mental illness and psychotic episodes that plagued him throughout his life.

[mythologypaintings]

Cupid Fleeing from Slavery

Artist: Joseph-Marie Vien (French, 1716–1809)

Date: 1789

Medium: Oil on canvas

Collection: Musée des Augustins, Toulouse, France

Description

"Cupid Fleeing From Slavery" depicts the Roman god of love, Cupid, escaping from a situation where he is being held captive, often symbolized by chains or bonds, usually with a frantic and energetic movement, signifying his desire for freedom and the inherent power of love to break free from constraints; it's a classic representation of love's rebellious nature and its resistance to being controlled

[illustratus]

[lovehina019]

[m0rninglatte]

"I'm sorry I left without saying goodbye"

"I just want to go home"

[galleryofart]

The Ionian Dance

Artist: Edward Poynter (British, 1836–1919)

Date: 1895

Medium: Oil on canvas

Collection: Private collection

Description

The intimate scene brings to life lines from an ancient Roman poem by Horace. The central figure in the translucent gown is a young girl who has been exiled from Greece and the Ionian islands. She performs a native dance for her bejewelled Roman mistress, seen in the emerald dress reclining on the sofa. The richly painted background and tessellated marble floor, reflecting the dancing girl's feet, demonstrate Poynter's exceptional skill as a painter. The subject matter is painted in the classical style which was highly fashionable at this time.

1863 had seen the re-discovery of the buried city of Pompeii and for the first time excavations exposed magnificent murals, artworks and the preserved remains of the city's inhabitants. The city had been discovered once before in 1599 by an architect who stumbled across frescoes of such frequent sexual content that they were hastily covered over again and no more of the city was touched. After the 19th century re-discovery, artists were heavily influenced by the ancient Roman culture that had been tragically wiped from history.

The painting was purchased by the notable collector Robert English direct from the artist. Robert English was the son of a brick maker who made his fortune in the South African diamond business, later merging his interests with De Beers. The painting remained in his collection until his death in 1914. It was subsequently sold in his estate sale in 1915 and has remained in private hands since then.

[artandthebible]

Eli and Samuel

Artist: John Singleton Copley (American, 1738–1815)

Title: Samuel Relating to Eli the Judgements of God upon Eli's House

Date: 1780

Medium: Oil on Canvas

Collection: Wadsworth Atheneum Museum of Art, Hartford, CT, United States

Eli and Samuel

Eli iwas a Jewish priest living in the days of the judges and serving God at the tabernacle in Shiloh, a city near the hill country of Ephraim (1 Samuel 1:1, 3). Eli is best remembered for his blessing on Samuel’s mother and for his part in Samuel’s first prophecy.

The priest God raised up was a boy named Samuel, who was dedicated to the tabernacle by his mother, Hannah, a formerly barren woman who had prayed for a child. Hannah spoke her prayer in Eli’s presence, and he had blessed her: “Go in peace, and may the God of Israel grant you what you have asked of him” (1 Samuel 1:17). God answered Hannah’s prayer, and she had a son. After Samuel was weaned, she gave him to the Lord’s service (1 Samuel 1:24–28).

The young Samuel lived in the tabernacle, under the tutelage and care of Eli. Each year, Hannah brought Samuel a robe for him to wear in the house of the Lord (1 Samuel 2:19). Eli again blessed Hannah and her husband, asking God to give Hannah children to replace the one she had dedicated to the Lord (1 Samuel 2:20). Hannah eventually gave birth to three more sons and two daughters (verse 21).

Later, when Samuel was a little older and Eli’s eyes were so weak that he could barely see, the Lord Himself spoke to Samuel. In the middle of the night, the Lord “came and stood” in Samuel’s room (1 Samuel 3:10) and told the young boy to deliver to Eli the message that it was almost time for the prophesied judgment to fall upon his family (verses 11–14). Eli humbly accepted God’s decree, and Samuel was confirmed as a prophet of the Lord in Shiloh (1 Samuel 3:19–21).

[allegorypaintings]

Allegory of Dialect

Artist: Laurent de la Hyre (French, 1606-1656)

Date: 1650

Medium: OIl on canvas

Collection: Private Collection

Description

This eloquent and noble Allegories of Rhetoric was originally made for a suite of paintings executed by La Hyre in 1649 and 1650. Depicting the Seven Liberal Arts that are the foundation of classical education as codified in Antiquity – Arithmetic, Astronomy, Geometry, Grammar and Music, as well as Dialectic and Rhetoric – the set of paintings were likely installed around the walls of a single, grand room in the house of Gédéon Tallemant des Réaux (1613-1668), a member of the Council of State, who resided on rue d’Angoûlmois in the Marais quarter of Paris. Although today scattered in collections throughout the world, all of the paintings in La Hyre’s original series have survived and can be identified, as well as several replicas most likely from the artist’s workshop.

[royalty-nobility]

Maximilian II (1527-1576) and His Wife Maria of Spain (1528-1603) and His Children Anna (1549-1580), Rudolf (1552-1612) and Ernst (1553-1595)

Artist: Giuseppe Arcimboldo (Italian, 1526-1593)

Date: c. 1563

Medium: Oil painting

Collection: Kunsthistorisches Museum Vienna, Austria

Description

Maximilian (1527-1576) was the eldest son of emperor Ferdinand I. and Anna of Hungary. In 1548 he married his cousin Maria. Her father Karl V made him governor of Spain. He inherited Bohemia, Hungary and the Austrian countries. In 1564 he was crowned Roman Emperor. Maximilian is shown together with his wife Maria of Spain (1528 - 1603) and his children Anna (1549 - 1580), Rudolf (1552 - 1612) and in the cradle Ernst (1553 -1595).

It is quite clear that the painter Arcimboldo settled down in Vienna in 1563. If the attribution to Arcimboldo rightly exists, he worked with models. According to technical research the painter used a kind of templates. Moreover there are single portraits of Maria, Anna and Maximilian II left.

[mythologypaintings]

Achilles Discovered Among the Daughters of Lycomedes

Artist: Peter Paul Rubens

Genre: Mythological Painting

Date: 1630 -1635

Medium: Oil on Panel

Collection: Museo del Prado, Madrid, Spain

Disguised as a woman, Achilles lived on Scyros among the daughters of King Lycomedes until the Greeks discovered his whereabouts and sent Odysseus and Diomedes to the island to fetch him. The two presented themselves as pedlars and placed a collection of trinkets before the young women.

[welcome-to-neighborhood-park]

Can I tell Frank a joke? Okay, okay:

Did you see the butterfly recently?

Yes?

That’s weird, I didn’t think butter was supposed to do that.

Should Frank not enjoy that joke, I would like to see what it would get me at Howdy’s shop.

Frank is now giving me the silent treatment xD he keeps rotating his head away from me lol

Eddie was there to and once it clicked i got a bit of a chuckle out of him!

Howdy says he's heard that one a lot, so he'd only give you a small discount on a treat of some kind (candy, cookie, small milkshake, etc)

[floral-art-prints]

The Roses of Heliogabalus by Lawrence Alma Tadema (1888, Öl auf Leinwand)

[whalefill]

haven't been posting much art lately because i am so so tired but i wanted to share this simple lil redraw! first one was done five years ago at the beginning of 2018, when i got my first wacom tablet :)