The Feast of the Gods. From the Tour: The Feast of the Gods Object 1 of 2 The Mythological Subject The ribald theme comes from The Feasts (Fasti), a long classical poem by Ovid that recounts the origins of many ancient Roman rites and festivals. Ovid (43 B.C. –A.D. 17), describing a banquet given by the god of wine, mentioned an incident that embarrassed Priapus, god of virility. The beautiful nymph Lotis, shown reclining at the far right, was lulled to sleep by wine. Priapus, overcome by lust, seized the opportunity to take advantage of her and is portrayed bending forward to lift her skirt.
The ass stands next to Silenus, a woodland deity who used the beast to carry firewood. Reading from left to right, the principal figures are: Silenus, a woodland god attended by his donkey Bacchus, the infant god of wine crowned with grape leaves Silvanus, an old forest god wearing a wreath of pine needles Mercury, the messenger of the gods carrying his caduceus or herald's staff The Three Painters The Alabaster Chamber. File:Nude self-portrait by Albrecht Dürer.jpg. Albrecht Dürer: Melencolia I (43.106.1) On-line gallery. In this moral work, the triumph of Death over mundane things is symbolized by a large army of skeletons razing the Earth.
The background is a barren landscape in which scenes of destruction are still taking place. In the foreground, Death leads his armies from his reddish horse, destroying the world of the living. The latter are led to an enormous coffin with no hope for salvation. All of the social institutions are included in this composition and neither power nor devotion can save them. This painting depicts a customary theme in medieval literature: the dance of Death, which was frequently used by Northern artists.
This painting belonged to Queen Isabel Farnesio and was at the La Granja Palace in 1745. The Mysteries of Hieronymus Bosch. Hieronymous Bosch - The complete works. Bosch's "The Garden of Earthly Delights"- Panel 1 HD. BOO-GLEECH. Written by Jonathan Wojcik October 27: Things from Bosch's Garden of Earthly Delights! For our third and final look at Bosch's monsters this October, we dive into his single most iconic piece, the "Hell" panel of his three-panel The Garden of Earthly Delights, which, with a good enough computer, you can view online in staggeringly high resolution.
This is the painting Bosch's name is immediately linked with and widely regarded as his master work, his Mona Lisa. The Ear Machine While I always interpreted this as some kind of vehicle, it's just as likely a huge demon in its own right, consistenting of nothing but a giant knife and giant ears. Bosch Himself Yes, this giant boat-footed, tree-legged egg man is Bosch's own self-portrait, looking fairly pleased to have a wild party in his shattered body cavity. Lucifer Sinister Rabbit-man Froggy Love One of my favorite details in the painting is also one of its smallest. Pond Skater Hey, another demon bird with ice skates!
Ravenous Rat-dogs The Pond. Rogier van der Weyden. Van der Weyden never signed any of his paintings, leaving subsequent art historians to piece together his body of work in the manner of super-sleuths. Works that have been attributed to him are difficult to date precisely, and scholars cannot agree on one chronology for his paintings.
All attempts to categorize his works into early, middle and later periods should be understood as speculative. Early years:Van der Weyden is believed to have become a master in the Tournai painters' guild in 1432, when he was in his early 30s. To achieve this level, he must have been studying in Campin's workshop for a number of years although no surviving records clearly indicate this. Despite a definitive chronology, many scholars suggest that the works Virgin and Child, Virgin and Child and St. Catherine and Visitation are early works completed by van der Weyden, executed shortly after he left Campin's workshop.
Jan van Eyck | The Crucifixion; The Last Judgment. J. D. Passavant. Kunstblatt (January 12, 1841), p. 9, states that these panels were the wings of a triptych acquired from an auction at a monastery in Spain by Tatistcheff, from which the center, an Adoration of the Magi, had been taken; attributes them to the brothers Jan and Hubert van Eyck; believes two figures beneath the cross are portraits of the brothers and a third a portrait of Margaret van Eyck; notes traces on reverse of panels of two standing figures on pedestals, painted in grisaille. C. Carton. Les trois frères Van Eyck. Bruges, 1848, p. 87 [first published in Société d'émulation pour l'étude de l'histoire et des antiquités de la Flandre, Bruges, ser. 2, vol. 5, 1847; see Ref. J. H. Alfred Michiels. G[ustav]. "Les écoles germaniques. " J. Carl Schnaase. L[ouis]. Carl Justi. Ludwig Kaemmerer. Hugo von Tschudi. Karl Voll. Otto Seeck.
Wilhelm Bode. Paul Durrieu. Fortunat von Schubert-Soldern. August Schmarsow. Jean Guiffrey. W. Max Dvorák. [Hippolyte] Fierens-Gevaert. Paul G. Jan van Eyck | The Arnolfini Portrait | NG186. This work is a portrait of Giovanni di Nicolao Arnolfini and his wife, but is not intended as a record of their wedding. His wife is not pregnant, as is often thought, but holding up her full-skirted dress in the contemporary fashion. Arnolfini was a member of a merchant family from Lucca living in Bruges. The couple are shown in a well-appointed interior. The ornate Latin signature translates as 'Jan van Eyck was here 1434'.
Before considering the subject matter, it is important to take note of the medium. This is a work of tempera on canvas. During this time, wood panels were popular surfaces for painting, and they would remain popular through the end of the sixteenth century. The theme of the Birth of Venus was taken from the writings of the ancient poet, Homer. On shore, a figure who has been identified as Pomona, or as the goddess of Spring, waits for Venus with mantle in hand. The composition is similar in some respects to that of the Primavera. Botticelli paid much attention to her hair and hairstyle, which reflected his interest in the way women wore their long hair in the late fifteenth century. Sandro Botticelli | Venus and Mars | NG915. Mars, God of War, was one of the lovers of Venus, Goddess of Love. Here Mars is asleep and unarmed, while Venus is awake and alert. The meaning of the picture is that love conquers war, or love conquers all.
This work was probably a piece of bedroom furniture, perhaps a bedhead or piece of wainscoting, most probably the 'spalliera' or backboard from a chest or day bed. The wasps ('vespe' in Italian) at the top right suggest a link with the Vespucci family, though they may be no more than a symbol of the stings of love. A lost Classical painting of the marriage of Alexander and Roxana was described by the 2nd-century Greek writer, Lucian. It showed cupids playing with Alexander's spear and armour. Botticelli's satyrs may refer to this. Mantegna Exhibition - Musée du Louvre, Paris.
Nothing is known about the circumstances of the commission and the initial destination of the imposing Saint Sebastian, acquired by the Louvre in 1910. It probably arrived at Aigueperse, in Auvergne, in the early years of 1480 on the occasion of the marriage, in 1481, of Gilbert de Bourbon-Montpensier (governor 1486-1496) and Chiara Gonzaga, daughter of Marquis Federico, perhaps as part of the exorbitant dowry given by her father. Nothing proves that it was painted for this precise event. In the 17th century it was described in praiseworthy terms in the Sainte-Chapelle, but the name of the artist was already forgotten. Before leaving Mantua, Mantegna’s Saint Sebastian seems to have impressed Bernardino da Parenzo who transposed the composition and the décor of antique ruins onto his small panel.
It was rather in Auvergne that it was perhaps admired by Antonio Maineri, a painter active in Bologna, who left, if one can believe the documents, to rejoin Gilbert de Bourbon in 1481. Mantegna Exhibition - Musée du Louvre, Paris. The Madonna della Vittoria was commissioned by Francesco II Gonzaga to commemorate the doubtful victory over the French troops of Charles VIII at Fornovo, near Parma, July 6, 1495. A year after the battle, the painting was carried in a solemn procession to the new church of Santa Maria della Vittoria. Military allusions are not lacking: kneeling and in armor, the marquis expresses his gratitude to the Virgin Mary. Among the personages who surround the marble throne are three warrior saints in sumptuous parade dress; on the left, Saint Michael, with his great sword studded with precious stones, and on the right Saint George with his broken lance, like some “Wagnerian” hero.
Behind, the two patron saints of Mantua, Andrew, recognizable by his attribute, the cross, and Longinus, with his plumed helmet. On the base of the throne, like in a series of paintings of small dimensions imitating gilt bronze or stone reliefs.