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Santa María la Real de las Huelgas

August 22, 2024

by admin Art Medieval Art Spanish Art Student Activities Worksheets

**View of the Cloister of Santa María la Real de las Huelgas,** 13^th century, Burgos Spain – Photo Credit: Amalia Spiliakou, May 2024

I love cloisters’ peace / soft words of silence within / harmony and calm… This is exactly how I felt in the Cloister of the Monastery of Santa María la Real de las Huelgas, in Burgos, Spain.

The Monastery of Santa María la Real de las Huelgas in Burgos, Spain, was founded in 1187 by King Alfonso VIII of Castile and his wife Queen Eleanor of England. Originally established as a royal Pantheon and Cistercian convent, the monastery played a significant role in Spanish religious and political life throughout the Middle Ages. It served as a spiritual and cultural center, with close ties to the Castilian monarchy. The monastery’s royal patronage allowed it to amass considerable wealth and influence, making it one of the most important monastic institutions in medieval Spain. Over the centuries, it has witnessed numerous historical events, including royal ceremonies and the burial of several Castilian monarchs. https://www.patrimonionacional.es/visita/monasterio-de-sta-maria-la-real-de-las-huelgas

An essential stop on the Camino de Santiago, the Monastery holds the distinction of being the premier female Cistercian monastery in Spain and serves as the head of all Cistercian Convents within the Crown of Castile. The first abbess of Las Huelgas was a testament to the wealth and privileges bestowed upon the monastery; she wielded ecclesiastical, civil, and criminal authority over more than 50 nearby towns, answering only to the pope. Her high rank was symbolized by a unique headdress similar to a mitre, and she carried a crosier, reflecting a status akin to that of a female bishop.

The Monastery showcases a fascinating blend of architectural styles. The original construction included a Mudejar church, part of which is still preserved in the current Chapel of the Assumption, characterized by its Almohad style. This early structure contrasts with the later Romanesque elements, particularly visible in the arches and columns adorned with plant motifs and castle designs. In the early 13th century, the definitive Gothic monastery was constructed, embodying the austere architectural style of the Cistercian order. This phase included the large church with reinforced walls and various rooms, among which the chapter house stands out for its significance and design.

Santa María la Real de las Huelgas is famous for its Romanesque Cloister known as las Claustrillas. Architecturally, the Cloister consists of 12 arches on each side supported by double columns, with capitals decorated with plant and castle motifs. Serving as the heart of monastic life, Cloisters were designed as a serene and contemplative space, often enclosing a garden or courtyard. They provided a sheltered pathway for monks to move between the different parts of the monastery while maintaining a meditative atmosphere conducive to prayer and reflection. The architectural significance of Cloisters lies in their ability to blend functionality with spiritual symbolism, representing the monastic ideals of seclusion and introspection. The Cloister at Las Huelgas, with its intricate arches and harmonious proportions, is a testament to the importance of these spaces in fostering the religious and communal life of the monastery. https://www.monasteriodelashuelgas.org/

The Cloister of the Monastery, constructed in the 13th century, is a remarkable example of Romanesque architecture infused with Cistercian austerity. Its history is intertwined with the monastery’s development as a Royal Pantheon and spiritual center. The Cloister features a series of arches supported by slender columns, creating a rhythmic and harmonious passageway around a tranquil courtyard. The simplicity of the design reflects the Cistercian emphasis on modesty and contemplation, while the delicate tracery and occasional ornamental details showcase the Romanesque influence. Over the centuries, the Cloister of Santa María la Real de las Huelgas has been a silent witness to the daily rituals of the nuns, royal ceremonies, and the ebb and flow of historical events, making it a significant architectural and historical element of the monastery.

For a Student Activity, please… Check HERE!

Jo Sketching at Good Harbor Beach by Edward Hopper

August 18, 2024

by admin 20th century Art American Art Art Powerpoints

**Edward Hopper,** American Artist, 1882–1967
**Jo Sketching at Good Harbor Beach,** 1923–1924, Watercolor and fabricated chalk on paper, 35.2 × 50.6 cm, Whitney Museum of American Art, NY, USA https://whitney.org/collection/works/6864

Gull patrol / paranoiac survey / is it “I want to have a lot of sex” / or “I want to have sex a lot” / Paddle ball / wave swell / submerging the fabrics of the ’20s / at the only decent thrift shop / the TV shows still under the spell / of 9/11 and there / the little dictator / gassing his people / and here the handcuffed dead / and now the lifeguard slides / with expert force his tall red chair / backward along the sand to the ridge / the high tide makes at the edge / of the dunes. / Tide coming in / The profit and the loss / A surfboard for rescue / and few in the water/ but remote seals and rumored sharks… writes Maureen N. McLane for Good Harbor Beach, and I think of the painting Jo Sketching at Good Harbor Beach by Edward Hopper! https://yalereview.org/author/maureen-n-mclane

Good Harbor Beach, located in Gloucester, Massachusetts, is a picturesque stretch of coastline renowned for its stunning natural beauty. The beach features fine, white sand and clear, calm waters, making it an ideal destination for swimming and sunbathing. At low tide, a sandbar emerges, allowing visitors to walk to Salt Island and explore its rocky terrain. The surrounding dunes and beach grasses add to the scenic charm, while the panoramic views of the Atlantic Ocean create a tranquil and inviting atmosphere. Popular with families, the beach offers amenities such as lifeguards, restrooms, and a concession stand, ensuring a comfortable and enjoyable experience for all who visit.

Edward Hopper, the renowned American realist painter, and his wife, Josephine (Jo) Nivison Hopper, had a significant connection with Good Harbor Beach. The couple spent many summers in Gloucester, where the serene and picturesque landscapes greatly influenced Hopper’s work. With its distinct light and tranquil ambience, Good Harbour Beach served as a frequent subject and inspiration for Hopper’s paintings. Jo, also an artist, often accompanied Edward on his painting excursions, providing support and sometimes posing for his works. Their time at Good Harbor Beach not only enriched Hopper’s artistic output but also solidified their personal and professional partnership, as they shared a mutual appreciation for the natural beauty and peaceful environment of the area. This relationship is reflected in the contemplative and evocative qualities of Hopper’s beach scenes, capturing the essence of their experiences together.

Edward Hopper’s watercolour painting Jo Sketching at Good Harbor Beach housed in the Whitney Museum of American Art, beautifully captures a moment of serene artistic engagement. The painting features Hopper’s wife, Jo, seated on a sandy expanse with her sketchpad, intently focused on her work. The beach’s natural elements, rolling dunes, sparse vegetation, and the gentle contours of the shoreline, are rendered with Hopper’s distinctive use of light and shadow, imbuing the scene with a luminous quality. The composition highlights the harmony between the figure and the landscape, reflecting the couple’s shared artistic endeavours and their deep appreciation for the tranquil beauty of Good Harbor Beach. Hopper’s masterful technique in watercolour brings a sense of immediacy and intimacy to this quiet, reflective moment, emphasizing both the personal and artistic dimensions of their relationship.

Good Harbor Beach is artistically presented in Edward Hopper’s work through his evocative use of light, shadow, and composition, capturing the serene and contemplative essence of the landscape. His paintings often depict the beach’s expansive, sunlit sands, the calm waters, and the surrounding dunes with a sense of quiet introspection. Hopper’s characteristic style of realism, combined with his ability to portray the subtleties of natural light, brings the tranquil beauty and solitude of Good Harbor Beach to life. These works reflect Hopper’s deep connection to the area and his skill in transforming everyday scenes into profound visual poetry, highlighting the unique atmosphere of this coastal haven.

For a PowerPoint Presentation of Edward Hopper’s oeuvre, please… Check HERE!

The Torcello Hodegetria

August 14, 2024

by admin Archaeology Art Byzantine Art Byzantine Church Architecture Byzantine Mosaics Byzantium Mosaics Student Activities Worksheets

**Cathedral of Santa Maria Assunta in Torcello, View of the Apse with the Mosaics of the Annunciation at the very top, the Hodegetria, and the Apostles,** 11^th century, Torcello, Italy http://www.thehistoryblog.com/archives/date/2020/10/06 and https://gr.pinterest.com/pin/642677809300738057/

Torcello was the mother-city of Venice, and she lies there now, a mere mouldering vestige, like a group of weather-bleached parental bones left impiously unburied. […] The church, admirably primitive and curious… is rich in grimly mystical mosaics of the twelfth century and the patchwork of precious fragments in the pavement not inferior to that of St. Mark’s… Torcello, like the Lido, has been improved; the deeply interesting little cathedral of the eighth century, which stood there on the edge of the sea, as touching in its ruin, with its grassy threshold and its primitive mosaics, as the bleached bones of a human skeleton washed ashore by the tide, has now been restored and made cheerful, and the charm of the place, its strange and suggestive desolation, has well-nigh departed… wrote Henry James in Italian Hours. Fifteen years back when I first visited Torcello, the deeply interesting little cathedra was restored and cheerful and the mosaic of The Torcello Hodegetria… a sight I will never forget! https://www.online-literature.com/henry_james/italian-hours/1/ and https://www.museodelcamminare.org/progetti/re_iter/james/james_en.html

**Torcello Island,** Italy https://religiana.com/torcello-cathedral

**Torcello Island,** View of the **Cathedral of Santa Maria Assunta**, the **Church of Santa Fosca**, and the **Torcello Museum,** Italy https://events.veneziaunica.it/content/basilica-santa-maria-assunta

The island of Torcello, situated in the northern part of the Venetian Lagoon, holds a significant place in the history of Venice. Established around the 5th century, Torcello is one of the earliest lagoon islands to be populated, serving as a refuge for people fleeing barbarian invasions on the mainland. During its peak in the early Middle Ages, it was a thriving center of commerce and culture, surpassing Venice in both size and influence. The island is renowned for its historic landmarks, particularly the Cathedral of Santa Maria Assunta, which dates back to 639 AD and houses some of the finest Byzantine mosaics in Italy. Despite its decline in later centuries due to malaria and the silting up of its canals, Torcello remains a captivating testament to the early development and artistic heritage of the Venetian Lagoon.

The island boasts several remarkable monuments that reflect its rich history and cultural heritage. The centerpiece is the Cathedral of Santa Maria Assunta, founded in 639 AD, and renowned for its stunning Byzantine mosaics. Adjacent to the Cathedral is the Church of Santa Fosca, a beautiful example of Byzantine-Romanesque architecture, built in the 11th century. Another notable structure is the Torcello Museum, housed in two historic buildings, the Palazzo dell’Archivio and the Palazzo del Consiglio, which display a fascinating collection of archaeological finds and medieval artefacts. The iconic Attila’s Throne, a stone chair of uncertain origin traditionally linked to the legendary Hun leader, and the ancient Devil’s Bridge, known for its distinctive shape and mysterious legends, further enrich Torcello’s historical landscape, making the island a captivating destination for history enthusiasts and travellers alike.

The Cathedral of Santa Maria Assunta, founded in 639 AD, and renovated in 1008 by its bishop, Orseolo, whose father was the Doge of Venice, stands as a magnificent testament to early Venetian history and Byzantine artistry. As the oldest cathedral in the Venetian Lagoon, it embodies a rich blend of architectural and cultural influences. The cathedral is particularly renowned for its exquisite mosaics, which date back to the 11th century. These mosaics include an imposing depiction of the Last Judgment and a majestic image of the Virgin Hodegetria. The cathedral’s ancient structure, with its elegant apse, Iconostasis, marble columns, incredible mosaic floor, and serene ambience, offers a glimpse into the early Christian art and architecture that once flourished in the region. Over the centuries, the Cathedral of Santa Maria Assunta has remained a vital link to the past, drawing visitors who seek to experience its historical and spiritual significance.

**Virgin holding the Christ-Child with eleven of the apostles and St Paul,** 11^th century, Mosaic, Cathedral of Santa Maria Assunta, Cathedral of Santa Maria Assunta, Torcello, Italy https://www.walksinrome.com/italy-venice-torcello-santa-maria-assunta.html

The apse mosaic in the Cathedral of Santa Maria Assunta on Torcello island is a stunning masterpiece of Byzantine art, featuring the Hodegetria and the Apostles. The central figure of the Virgin Mary, depicted as the Hodegetria, stands with the Christ Child on her arm against a shimmering gold background, guiding the faithful with her serene yet commanding presence. The Hodegetria, wrapped in precious garments, and labelled in Greek, emphasises both the universal and local significance of the imagery. Below this scene, are the twelve Apostles including Saint Paul, each rendered with distinctive expressions and postures, symbolizing the foundation of the Christian Church. The Triumphal arch above showcases the Annunciation, with Gabriel and Mary on opposite sides.

The mosaic, with its intricate gold background and detailed iconography, radiates a profound sense of divine authority and spiritual tranquillity. Created in the 11th century, this artwork exemplifies the exquisite craftsmanship and deep religious devotion characteristic of Byzantine mosaics, making it one of the most revered and admired features of the Cathedral.

For a Student Activity, please… Check HERE!

Charon crossing the Styx by Joachim Patinir

August 10, 2024

by admin 16th century Art Art Flemish Art Northern Renaissance Powerpoints Renaissance Renaissance Art

**Joachim Patinir,** 1480-1524
**Charon crossing the Styx,** 1520 – 1524, Oil on Panel, 64×103 cm, Prado Museum, Madrid, Spain https://www.museodelprado.es/en/the-collection/art-work/charon-crossing-the-styx/c51349b6-049e-476c-a388-5ae6d301e8c1

A horrible ferryman keeps these waters and streams / in fearful squalor, Charon, on whose chin stand enormous, / unkempt grey whiskers, his eyes stand out in flame and / a filthy garment dangles by a knot from his shoulders. / He punts the boat with his pole, handles the sails / and carries bodies across in his murky boat; he is / old now, but for a god old age is raw and green… This is how Virgil describes the Ferryman of the Underworld in his Aeneid… On the other hand, the painting of Charon crossing the Styx by Joachim Patinir presents us with a more serene image of Charon. While he still punts the boat with his pole, he does not exude the same fearsome aura as Virgil’s character. Instead, Patinir’s Charon appears more human and approachable, reflecting the artist’s tendency to soften the harsher elements of myth. https://www.pantheonpoets.com/poems/charon-the-ferryman/

Joachim Patinir’s Charon Crossing the Styx is a masterful example of Northern Renaissance art, encapsulating the technical prowess and the thematic depth characteristic of the period. Painted in the early 16th century, this work illustrates the mythological journey of Charon, the ferryman, transporting souls across the river Styx to the afterlife. Patinir, renowned for his innovative approach to landscape painting, uses the vast, meticulously detailed scenery to heighten the narrative’s dramatic tension. The interplay of light and shadow, combined with symbolic elements embedded within the landscape, invites viewers to explore themes of morality, judgment, and the human condition, making Charon Crossing the Styx a visual feast and a profound philosophical inquiry.

**Aegidius Sadeler**, –1629 after **Albrecht Dürer**, 1471–1528
**Portrait of Joachim Patinir,** between 1585 and 1589, Lead pencil, little pen in grey, over preliminary drawing in pencil, 17.1×13.7 cm, Herzog Anton Ulrich Museum, Germany https://commons.wikimedia.org/wiki/File:Aegidius_Sadeler_(after_Durer)_-_Portrait_of_Joachim_Patinir.jpg

Joachim Patinir, born around 1480 in Dinant or Bouvignes, present-day Belgium, is a significant figure in the Northern Renaissance. Patinir trained and worked in Antwerp, which was a major cultural hub during his lifetime. Though not much is known about his personal life, records indicate that he joined the Antwerp Guild of St. Luke in 1515, solidifying his status as a master painter. His career was relatively brief as he died in 1524, yet he left a lasting impact on the art world, particularly through his contributions to landscape painting. Patinir’s works often blend religious themes with expansive, detailed landscapes, earning him recognition and admiration among his contemporaries and subsequent generations.

Patinir’s artistic style is characterized by his pioneering approach to landscape painting, which he often used as a primary subject rather than merely a backdrop. His compositions are notable for their meticulous detail, vibrant use of colour, and imaginative integration of natural and fantastical elements. Patinir’s landscapes are typically vast and panoramic, with a high horizon line that allows for an expansive view of the natural world. This technique creates a sense of depth and scale, inviting viewers to immerse themselves in the scenery. Additionally, his works frequently incorporate symbolic elements that enhance the narrative and thematic depth, such as rivers representing the journey of life and mountains symbolizing spiritual ascent. Patinir’s ability to fuse human figures within these grand landscapes seamlessly showcases his unique vision and has earned him a lasting legacy in art history.

**Joachim Patinir,** 1480-1524
**Charon crossing the Styx (detail),** 1520 – 1524, Oil on Panel, 64×103 cm, Prado Museum, Madrid, Spain https://canon.codart.nl/artwork/landscape-with-charon-crossing-the-styx/

Charon Crossing the Styx by Joachim Patinir, housed in the Prado Museum, is a striking example of Flemish Renaissance landscape painting. Created around 1520-1524, this work captures the mythological scene of Charon ferrying souls across the River Styx to the underworld. Patinir’s detailed landscape divides the canvas space vertically into three zones: one on either side and the third occupied by the broad river in the center, on whose opaque and mirror-like surface Charon steers his boat. Patinir’s detailed landscape juxtaposes a lush, heavenly paradise on the left and a barren, hellish domain on the right. For the iconography of this subject, Patinir draws together biblical images and classical sources. An angel on the promontory, another two accompanying the souls not far away, and a few more with other tiny souls in the background allow us to recognize the paradise on the left as a Christian heaven, not the Elysian Fields. On the other hand, the dog Cerberus seems to identify the inferno shown on the right as Hades, thus associating it with Greek mythology, as do Charon and his boat. Charon’s boat, carrying a solitary soul, navigates the murky waters between these symbolic worlds. The painting is notable for its meticulous detail, vivid colouration, and dramatic interplay between light and shadow, encapsulating the moral dichotomies of salvation and damnation.

According to Prado Museum experts, Patinir’s painting is inspired by St Matthew`s Gospel, and …reflects the pessimism of his turbulent times, with the Protestant Reformation gaining momentum after the appearance of Martin Luther`s Ninety-Five Theses in Wittenberg in 1517… and thus converts this work into a memento mori, a reminder to all those who contemplate it that they must prepare for the moment of death, and that the hard road must be chosen in imitation of Christ, ignoring false paradises and deceitful temptations.

It is not known what prompted Patinir’s patron to commission this work or where it was meant to hang. Evidently, it is not an altarpiece but a cabinet painting, suited to a humanist environment. The painter, likely with help from a client or mentor, drew inspiration from earlier depictions of heaven and hell, emphasizing the role of landscape and reducing the number of demons and damned souls on the Underworld’s side. Both the drawing and the colour handling indicate this painting was an autograph work by Patinir, as the central figure of Charon shows his distinctive style.

Charon Crossing the Styx remains a significant work in art history, showcasing Patinir’s artistic skill and his ability to convey complex themes through visual art. Seen as a masterpiece that exemplifies the depth and innovation of Northern Renaissance art, and combines mythological narrative with an unprecedented focus on landscape to explore profound human themes, Patinir’s Charon Crossing the Styx is a vision to hold!

For a PowerPoint Presentation of Joachim Patinir’s oeuvre, please… Check HERE!

Apulian Pottery Style

August 5, 2024

by admin Ancient Greek Art Archaeology Art Education Greek Art Pottery Powerpoints

**An Apulian Red-Figured Knob-Handled Patera in the manner of the Lycurgus Painter,** circa 2^nd half of the 4^th century BC, Diameter: 43.2 cm, Private Collection https://www.christies.com/lot/lot-6436519?ldp_breadcrumb=back&intObjectID=6436519&from=salessummary&lid=1

The ancient Apulian Pottery Style, originating in southeastern Italy during the 4th to 3rd centuries BCE, is renowned for its distinctive and ornate red-figure technique. Characterized by elaborate scenes and mythological narratives, Apulian pottery often featured detailed depictions of figures in dynamic poses, showcasing a high level of artistic skill and storytelling. The vessels, ranging from amphorae to kraters to paterae, served both functional and decorative purposes, with intricate designs adorning their surfaces. Artists employed a rich colour palette, including red, white, and yellow, creating a visually striking contrast. The subjects depicted in Apulian pottery varied widely, encompassing mythology, daily life, and religious themes. This unique pottery style not only reflects the artistic achievements of ancient Apulia but also provides valuable insights into the cultural and social context of the time.

In July 2023, at Christie’s, an Apulian Red-Figured Knob-Handled Patera, dating back to the second half of the 4th century BC and executed in the style of the Lycurgus Painter, was auctioned with exceptional results. The patera’s interior features an Amazon on horseback, adorned in an intricate costume and panther skin, wielding a long spear while attacking a panther amidst a complex freeform foliate setting. Conversely, the exterior is decorated with a central figure of winged Eros, flanked by draped females on one side, and a centrally seated draped female, accompanied by winged Eros and another draped female, on the opposite side. This exquisite piece of pottery provides us with the opportunity to raise questions about Apulian Pottery and its significance… https://www.christies.com/lot/lot-6436519?ldp_breadcrumb=back&intObjectID=6436519&from=salessummary&lid=1

What was the cultural and historical context of ancient Apulia during the production of the so-called, Apulian Pottery? Apulia, a region in Southern Italy colonized by the Greeks, played a significant role in the production of pottery during the 4th century BC. Over half of the recovered pottery vases from Southern Italy, particularly in modern Puglia, were crafted in Tarentum, a major Greek polis in the area. This flourishing pottery production was part of the broader phenomenon of Greek colonization in the western Mediterranean, occurring from the 8th to the 5th century BC, leading to the establishment of colonies in Southern Italy and Sicily, collectively known as Magna Graecia or ‘Great Greece.’ The influx of Greek artisans and pottery makers to these colonies facilitated the development of a unique artistic style that blended local Italic traditions with Attic aesthetics.

What is an ‘Apulian Patera’… The term ‘Apulian Patera’ typically refers to a specific shape of ancient Apulian pottery rather than a separate style. A patera is a shallow, often bowl-like vessel with a flat, wide rim. In the context of Apulian pottery, the Apulian Patera shape is commonly associated with the red-figure pottery produced in Apulia during the 4th to 3rd centuries BC. These vessels were characterized by their distinctive form, featuring a broad, flat rim with a slightly concave interior. The exterior of the bowl often displayed intricate red-figure decorations, showcasing scenes from mythology, daily life, or religious motifs. The Apulian Patera shape was popular for various functions, including serving food and libations during rituals or symposia. The artistic embellishments on these vessels, coupled with their functional design, make Apulian Patera potter an intriguing aspect of ancient Apulian artistic and cultural heritage.

How would Apulian Pottery aesthetics be described… Apulian pottery vessels exhibit distinctive aesthetic characteristics that contribute to their enduring appeal. Renowned for their red-figure technique, these vessels typically feature a lustrous black background adorned with intricate, finely drawn details in red, white, and occasionally yellow pigments. The scenes depicted on Apulian pottery often showcase a remarkable level of artistry, with figures engaged in dynamic poses and elaborate narratives drawn from mythology, daily life, or religious themes. The artists displayed keen attention to anatomical accuracy and fine details, emphasizing the expressive facial features and fluid movement of the depicted figures. The wide range of vessel shapes, including kraters, amphorae, and the characteristic Apulian Patera, further highlight the versatility of this pottery tradition. The overall effect is one of visual richness and storytelling, where each vessel becomes a canvas for the skilled artisans to convey both aesthetic beauty and cultural narratives from ancient Apulia.

For a PowerPoint of 10 Masterpieces of Apulian Pottery, please… Check HERE!

Hay Making

July 31, 2024

by admin 19th century Art Art French Art Powerpoints

**Jules Bastien-Lepage**, French artist, 18480-1884
**Hay Making,** 1877, Oil on Canvas, 180×195 cm, Musée d’Orsay, Paris, France
http://www.musee-orsay.fr/fr/agenda/expositions/jules-bastien-lepage-1848-1884

I come! I come! and the waving field / its wealth of golden grain shall yield. / In the hush and heat of glowing noon, / The insects’ hum is the only tune; / For the merriest birds forget to sing, / And sit in the shade with drooping wing. The painting Hay Making by Jules Bastien-Lepage presents the hush and heat of glowing noon with a tired but relaxing couple sitting in the shade, exhausted, yet content. There is such dignity in Bastien-Lepage’s presentation of this unassuming composition, I would like to explore it more… https://discoverpoetry.com/poems/august-poems/

Bastien-Lepage produced a collection of deeply personal artworks, firmly establishing his position within the Naturalism movement’s historical timeline. His oeuvre is focused on three main art areas: depicting realistic genre themes, creating rural landscapes, and fashioning truthful portraits. The sincerity portrayed in his paintings gained him a loyal following not only in France but also across Europe. Beauty, I am convinced, Jules Bastien-Lepage once said, is the exact truth: neither to the right nor to the left, but in the middle! https://www.theartstory.org/artist/bastien-lepage-jules/ and https://www.teachercurator.com/art/october-by-jules-bastien-lepage/

**Jules Bastien-Lepage**, French artist, 18480-1884
**Self-portrait at 32 years old,** 1880, oil on canvas, 31×25 cm, Musée Bastien-Lepage, Clos Raymond, France
https://www.vosgesmatin.fr/art-et-culture/2019/05/12/autoportrait

The artist was born on the 1^st of November 1848, in Damvillers, France, and showed an early talent for art. He studied at the École des Beaux-Arts in Paris, where he was influenced by the works of the Barbizon School painters, particularly Jean-Baptiste Corot and Gustave Courbet. Bastien-Lepage’s style combined elements of Realism, focusing on capturing the effects of light and atmosphere. His approach to painting often involved working directly from nature, capturing the effects of light and the nuances of everyday life. His subjects included landscapes, portraits, and genre scenes, all characterized by meticulous attention to detail and a sense of honesty and seriousness. https://www.teachercurator.com/art/october-by-jules-bastien-lepage/

Unfortunately, Jules Bastien-Lepage’s career was cut short when he died at the age of thirty-six. His work, however, had a significant impact on the development of Naturalism and influenced many artists who followed. Today, regarded as an important figure in the history of 19th-century French art, Bastien-Lepage is respected for the sincerity, and the dignity with which he depicted the Meuse region in which he grew up, and the workers and peasants who his brush rendered! https://www.theartstory.org/artist/bastien-lepage-jules/ and https://www.teachercurator.com/art/october-by-jules-bastien-lepage/

For the Paris Salon Bastien-Lepage created and exhibited a pair of Harvest Scenes that marked a new direction in his career as a painter. The earlier of the two works, The Haymakers, (today, in the Musée d’Orsay), exhibited at the Salon in 1878, shows two weary haymakers resting in the summer heat. The second painting, exhibited at the Paris Salon of 1879, and titled October or The Potato Harvest, (today, in the National Gallery of Victoria, Melbourne, Australia) is an account of the bleak autumnal potato harvest, set in a bare, featureless landscape. Both paintings, powerfully rendered, and careful studies of life in the fields, had a considerable influence on the art scene of the time. Both paintings created a new trend in art, and, without intention on Bastien-Lepage’s part, the painter of the Meusian peasants became the head of an Art School. https://www.ngv.vic.gov.au/explore/collection/work/3768/ and https://www.teachercurator.com/art/october-by-jules-bastien-lepage/

**Jules Bastien-Lepage**, French artist, 18480-1884
**Hay Making (detail),** 1877, Oil on Canvas, 180×195 cm, Musée d’Orsay, Paris, France
http://www.musee-orsay.fr/fr/agenda/expositions/jules-bastien-lepage-1848-1884

Jules Bastien-Lepage’s painting Hay Making, also known as Les Foins, is a significant work in the Realist tradition that captures a poignant scene of rural life. The painting features two peasant workers resting during the hay harvest: a young woman seated in the foreground, depicted in fatigue and contemplation, and a young man lying behind her, seemingly asleep. Set in a sunlit field with the expansive countryside in the background, the scene is bathed in soft, diffused light, highlighting the textures of the hay and the workers’ clothing. The earthy tones of greens, browns, and yellows evoke the warmth of a summer day, while the delicate and precise brushwork adds to the lifelike quality of the figures and their surroundings.

Hay Making conveys a sense of exhaustion and tranquillity, capturing a moment of respite in a long day of hard work. The painting serves as a subtle social commentary on the lives of rural workers, depicting them with dignity and realism, and highlighting their often-overlooked hardships and humanity. Celebrated for its technical excellence and emotional depth, the painting influenced the development of Naturalism in art and left a lasting impact on contemporaries and later artists who sought to portray ordinary life with sincerity and precision. Bastien-Lepage’s work remains a testament to the values and aesthetics of the late 19th-century Realist movement, honouring the everyday labour of peasants with empathy and respect.

For a PowerPoint on the artistic oeuvre of Jules Bastien-Lepage, please… Check HERE!

Interesting to read is the book Jules Bastien-Lepage and His Art. A Memoir. Written by the artist’s friend Andre Theuriet, the entire book is free and online at… https://archive.org/details/julesbastienlepa00theu/page/50/mode/2up and https://www.musee-orsay.fr/fr/agenda/expositions/jules-bastien-lepage-1848-1884 and https://www.musee-orsay.fr/fr/oeuvres/les-foins-9174

Boys on the Beach by Joaquín Sorolla y Bastida

July 26, 2024

by admin 20th century Art Art Powerpoints Spanish Art

**Joaquín Sorolla y Bastida**, Spanish Artist, 1863-1923
**Boys on the Beach,** 1909, Oil on Canvas, 118×185 cm, Prado Museum, Madrid, Spain https://www.museodelprado.es/en/the-collection/art-work/boys-on-the-beach/edd7a202-c069-49f1-a3f4-eacf9b4022c2

‘Tis better to sit here beside the sea, / Here on the spray-kissed beach, / In silence, that between such friends as we / Is full of deepest speech. Paul Laurence Dunbar’s poem, Silence, suggests an intimate communication transcending words. In contrast, the painting Boys on the Beach by Joaquín Sorolla y Bastida is boisterous and joyfully noisy… capturing the perfect summer scene!

Joaquín Sorolla y Bastida was born on February 27, 1863, in Valencia, Spain. He became an orphan at a young age and was raised by his aunt and uncle. Showing an early aptitude for art, he enrolled in the School of Fine Arts in Valencia at fifteen. Sorolla’s talent earned him scholarships to study in Madrid and later in Rome, where he absorbed the influences of classical and contemporary art. In 1888, he married Clotilde García del Castillo, who became his lifelong muse and the mother of his three children. Sorolla’s career flourished as he gained recognition for his vibrant, sunlit canvases, which captured the essence of Mediterranean life. His success extended internationally, with exhibitions in Paris, New York, and other major cities, solidifying his reputation as a master of light and colour.

The artist’s aesthetics were characterized by his masterful use of light and his vibrant, dynamic compositions. He is often associated with the Impressionist movement, although his style also incorporated elements of Realism and Luminism. Sorolla’s works frequently depicted scenes of everyday life, particularly those involving the sea, beaches, and people of his native Spain. His paintings are renowned for their brilliant use of colour, the fluidity of brushstrokes, and the ability to capture the fleeting effects of sunlight. Among his most famous works are The Bathing Hour, Sewing the Sail, and Walk on the Beach, which showcases his ability to render both the natural beauty and the human joy of his subjects. Sorolla’s accomplishments include numerous awards and honours, and his works continue to be celebrated and exhibited in prestigious museums around the world, including the Sorolla Museum in Madrid, which was once his home and studio.

Spanish artist Joaquín Sorolla y Bastida’s series of paintings featuring the children in the water motif is a vibrant celebration of childhood and the joy of seaside life. These works, created primarily during the early 20th century, depict boys playing at the seafront, capturing their carefree spirit and the shimmering beauty of the Mediterranean light. Sorolla’s masterful use of light and colour brings these scenes to life, emphasizing the translucence of water and the golden hues of sunlit skin. His loose, fluid brushstrokes convey movement and spontaneity, creating an almost impressionistic effect that captures fleeting moments of pure joy and innocence. Through these paintings, Sorolla not only showcases his technical brilliance but also his deep affection for the natural world and the simple pleasures of childhood.

The 1909 painting Boys on the Beach in the Prado Museum is probably Sorolla’s final example of his children in the water series. This work captures the essence of a carefree childhood with remarkable vibrancy. The painting depicts three nude boys playing at the sea’s edge, their bodies partially submerged in the sparkling blue water. Sorolla’s exceptional use of light and colour renders the scene with a radiant, sunlit quality, highlighting the reflections and ripples on the water’s surface. The boys’ skin glows with a sun-kissed warmth, contrasting with the cool tones of the sea. The artist’s fluid brushstrokes and dynamic composition convey a sense of movement and spontaneity as if the viewer is witnessing a fleeting moment of pure joy and freedom. The artist focuses on the children and the immediate foreground, creating an intimate and immersive experience. Through this painting, Sorolla masterfully captures the innocence and exuberance of childhood against the serene backdrop of the Mediterranean coast.

For a PowerPoint Presentation, titled At the Seafront, 13 Paintings by Joaquín Sorolla y Bastida, please… Check HERE!

Bibliography: https://www.museodelprado.es/en/the-collection/art-work/boys-on-the-beach/edd7a202-c069-49f1-a3f4-eacf9b4022c2 and https://www.nationalgallery.org.uk/exhibitions/past/sorolla/what-you-need-to-know-about-sorolla

Madonna with Child in a Landscape

July 22, 2024

by admin 15th century Art Art Northern Renaissance Student Activities Worksheets

**Attributed to the Master of the Madonna Grog, a member of the group of artists formerly known as the Master of the Embroidered Foliage**
**Madonna with Child in a Landscape**, c. 1492-1498, Oil on Panel, Burgos Cathedral, Chapel of the Constables, Burgos, Spain – Photo Credit: Amalia Spiliakou, May 14, 2024

On the 14^th of May 2024, while visiting the Burgos Cathedral, the Chapel of the Constables to be specific, a beautiful triptych caught my attention. Attributed to the Master of the Madonna Grog, a member of the group of artists formerly associated with the Master of the Embroidered Foliage, the painting of the Madonna with Child in a Landscape stands as a testament to the artistic and spiritual grandeur of the Northern Renaissance period. This exquisite triptych, with its intricate detailing and profound iconography, seamlessly merges the divine serenity of the Madonna and Child theme with the rich, naturalistic backdrop of the landscape. The artwork not only highlights the tender bond between mother and child but also reflects the Renaissance’s burgeoning appreciation for nature and humanism. As a focal point of the Chapel of the Constables, this triptych not only enhances the chapel’s ornate beauty but underscores Burgos Cathedral’s significance as a repository of sacred art and a beacon of devotional artistry.

The Maestro de la Madonna Grog, an enigmatic figure in the annals of art history, is believed to be the artist who created Madonna with Child in a Landscape at the Burgos Cathedral. This serene garden scene presents the Madonna sitting outside with the Child nestled on her lap, surrounded by vibrantly blooming flowers in a verdant, lush landscape. In the background, a river view provides a glimpse of the distinctive architectural style of 15th-century Northern Europe, where the artist likely resided. Clad in a majestic red robe, the Madonna’s face glows with a tender smile as she gently turns to her Child, who holds a small purple flower.

This is no ordinary scene, as the real-world details in the artwork hold deeper religious significance. The ‘gladiolus’ or blue iris, for example, symbolizes the sorrow that pierced Mary’s heart when her son died. This specimen gets its name from the Latin word “gladius,” which means “sword.” The blue violets that Christ holds, on the other hand, symbolize humility, His suffering and sacrifice, spiritual transformation, and the journey towards holiness and grace.

The painting of the Madonna with Child in a Landscape is presented in the Chapel of the Purification, also known as the Constables, in Burgos Cathedral. This chapel, a stunning example of Gothic architecture, is adorned with intricate stone carvings and vibrant stained-glass windows that bathe the space in a kaleidoscope of colours. Constructed in the late 15th century, it serves as a mausoleum for the noble Don Pedro Fernandez de Velasco and his wife, Doña Mencía de Mendoza, whose effigies lie in peaceful repose beneath the soaring vaulted ceiling. The chapel’s grandeur and serene atmosphere provide a fitting backdrop for the Maestro de la Madonna Grog’s masterpiece, enhancing its spiritual and artistic significance within this sacred space.

For a Student Activity, inspired by the Madonna with Child in a Landscape in the Burgos Cathedral, please… Check HERE!

The Emperor Julian

July 18, 2024

by admin Archaeology Art Early Christian Art Roman Art Social Studies Student Activities

**Statue of a Priest of Serapis or Julian the Apostate,** 2^nd century AD or 4^th century AD if it is the statue of Emperor Julian, Marble, Height: 181 cm, Musée de Cluny, the Musée National du Moyen Âge, Paris, France
https://www.facebook.com/photo/?fbid=3606532259414293&set=a.547320410758138

…However the song that I now sing has been composed in prose, and it contains much violent abuse, directed not, by Zeus, against others – how could it be, since the law forbids? – but against the poet and author himself. For there is no law to prevent one’s writing either praise or criticism of oneself. Now as for praising myself, though I should be delighted to do so, I have no reason for that; but for criticising myself I have countless reasons, and first I will begin with my face. For though nature did not make this any too handsome or well-favoured or give it the bloom of youth, I myself out of sheer perversity and ill-temper have added to it this long beard of mine, to punish it, as it would seem, for this very crime of not being handsome by nature… The Emperor Julian as described in his book Misopogon (or “Beard-Hater”) https://sourcebooks.fordham.edu/ancient/julian-mispogon.asp

Emperor Julian, often referred to as Julian the Apostate, is a compelling figure in Late Roman/Early Christian history, renowned for his military acumen and his controversial efforts to revive paganism. His life and reign were marked by dramatic events and significant attempts to reform the Late Roman Empire.

Born in 331 or 332 AD in Constantinople, Julian’s full name was Flavius Claudius Julianus. He was the nephew of Emperor Constantine the Great. After Constantine’s death, a violent power struggle ensued, resulting in the deaths of many of Julian’s relatives. Julian and his half-brother Gallus were among the few survivors. Julian received an extensive education, studying in places like Nicomedia and Athens, where he was deeply influenced by philosophy, rhetoric, and classical studies.

Julian’s rise to power began in 355 AD when his cousin, Emperor Constantius II, appointed him as Caesar, assigning him the defence of the Western Roman Empire, particularly the region of Gaul (modern-day France). Julian quickly demonstrated his military prowess, winning several critical battles against Germanic tribes, including the notable Battle of Strasbourg in 357 AD.

**Statue of a Priest of Serapis or Emperor Julian the Apostate?** 2^nd century AD or 4^th century AD if it is the statue of Emperor Julian, Marble, Height: 181 cm, Musée de Cluny, the Musée National du Moyen Âge, Paris, France – Photo Credit: Amalia Spiliakou, May 2023

In 361 AD, following the death of Constantius II, Julian became the sole emperor. Constantius had named Julian as his successor on his deathbed. As emperor, Julian focused on reforming the administration and curbing corruption. Known for his personal austerity and philosophical inclinations, Julian’s governance aimed at restoring the moral and ethical standards of the Roman administration.

Julian’s reign is particularly remembered for his efforts to revive paganism, earning him the moniker ‘the Apostate’ for his rejection of Christianity, which had been embraced by his predecessor Constantine. Julian sought to reinvigorate traditional Roman religious practices and restore pagan temples. Although he favoured paganism, he did not persecute Christians outright but rather aimed to diminish their influence by withdrawing state support and promoting religious pluralism. He even attempted to establish a pagan church structure to rival the Christian hierarchy.

In 363 AD, Julian embarked on an ambitious military campaign against the Persian Empire. Initially successful, the campaign eventually encountered severe logistical challenges. During a retreat, Julian was mortally wounded and died on June 26, 363 AD. The circumstances of his death remain unclear, with some accounts suggesting he was killed by a Persian soldier, while others imply he was assassinated by a Christian within his ranks.

Julian’s reign, though brief, left a lasting impact. His efforts to restore paganism were largely reversed by his successors, but his writings and philosophical contributions continued to influence subsequent generations. An accomplished writer, Julian authored works such as “Misopogon” (Beard-Hater), a satirical critique of the citizens of Antioch, along with numerous letters and treatises on philosophy and religion. Julian the Apostate remains a complex and intriguing figure, known both for his military successes and his controversial religious policies. His attempt to halt the Christianization of the Roman Empire ultimately failed, yet his reign illustrates the dynamic and often contentious nature of the late Roman Empire.

On the 10^th of May 2023, I came face to face with Emperor Julian in Paris, at the Musée de Cluny, the Musée National du Moyen Âge. Or so I thought… as Museum scholars now believe that the impressive statue of the bearded man in their Collection is probably the portrait of a 2^nd century AD priest, not the Emperor. Whoever the man is… he is striking and imposing, gracious and dignified… a noble man of distinction!

For a Student Activity on The Emperor Julian, please… Check HERE!

The Treasure of Childeric I

July 13, 2024

by admin Archaeology Art Early Christian Art French Art Jewelry Medieval Art Powerpoints Social Studies

**Golden Bees**, Treasure of Childeric I, 5^th century AD, Gold, Garnet, Bibliothèque nationale de France, Paris, France https://www.hhantiquejewelry.com/napoleon-bees-jewelry-tomb-childeric-i-symbols-empire/

. The 14^th of July is the anniversary of the Storming of the Bastille, a major event of the French Revolution, and the most important French Fête Nationale! Let’s celebrate this important historical event with a story… that of The Treasure of Childeric I, its beautiful Bee-Shaped Jewels and… Napoleon!

The Treasure of Childeric I, discovered on May 27th, 1653, in Tournai, Belgium, by Adrien Quinquin, a mason working on the reconstruction of the Church of Saint-Brice, is an extraordinary archaeological find that offers a unique glimpse into the early medieval period of European history. Attributed to Childeric I, a prominent king of the Salian Franks and father of Clovis I, the founder of the Merovingian dynasty, the hoard included a remarkable array of artefacts, such as jewelry, coins, and ceremonial weapons, reflecting the wealth and craftsmanship of the time.

Childeric I reigned during a pivotal era marked by the transition from Roman rule to establishing Frankish kingdoms. Therefore, his treasure highlights the personal wealth and power of a Frankish king and serves as a cultural bridge between the late Roman Empire and the early medieval Frankish state. Each item within the treasure provides invaluable insights into the art, culture, and political dynamics of the 5th century.

The discovery of Childeric’s treasure was a landmark event in the field of archaeology and has since played a crucial role in shaping our understanding of Merovingian art and society. The Treasure included a variety of fascinating items: a throwing axe, a spear, a long sword known as a spatha, and a short scramasax, both adorned with gold and garnet cloisonné. There was also a solid gold torc bracelet, part of an iron horseshoe with nails still intact, and belt and shoe buckles as well as horse harness fittings, all elaborately decorated with cloisonné gold and garnets. Additionally, the collection contained a leather purse with over a hundred gold and silver coins, the latest of which featured the Byzantine Emperor Zeno (474-491 A.D.). Among the treasures were also a gold bull’s head with a solar disc on its forehead, a crystal ball, and a gold signet ring.

Among the most notable items were the gold and enamel bees, over 300 of them, which were likely used as decorations for Childeric’s cloak or other regalia. These bees were later adopted by Napoleon Bonaparte, who, preparing for his coronation as Emperor of the French, sought a link to ancient French royalty. He deliberately avoided the still-despised Bourbon fleur-de-lys symbol, espousing Childeric’s heraldic bees as his emblem. Consequently, Napoleon’s coronation robe was embroidered with 300 gold bees, establishing them as the symbol of the new French Empire, and associating himself with the continuity and authority of the ancient Frankish kings. The bees thus became emblematic of the Napoleonic regime, symbolizing immortality and resurrection. In modern times, the bee has also contributed to the commemoration of the 14th of July national holiday, symbolizing the unity and enduring spirit of the French nation.

The Treasure’s discovery

When Childeric’s treasure was discovered in 1653 in Tournai, then part of the Spanish Netherlands, it was sent to Archduke Leopold Wilhelm of Austria. Recognizing its importance, the Archduke commissioned his physician, Jean-Jacques Chifflet, to document the artefacts meticulously. Chifflet’s detailed study, including precise engravings, was published in 1655 as “Anastasis Childerici I,” marking the first scientific archaeological publication. Although Chifflet made some errors in his analysis, his work laid the groundwork for modern archaeological documentation, preserving invaluable information about the Merovingian dynasty. Archduke Leopold brought Childeric’s treasure to Vienna in 1656 and, upon his death in 1662, bequeathed it to his nephew, Holy Roman Emperor Leopold I, who gifted the treasure to King Louis XIV. Louis, unimpressed by the 5th-century artefacts, stored them in the Louvre’s Cabinet of Medals. After the French Revolution, the treasure became part of the Cabinet of Medals at the Imperial Library, later known as the National Library of France.

On the night of November 5th, 1831, thieves broke into the Cabinet of Medals at the Bibliothèque Nationale de France, stealing over 2,000 gold objects, including Childeric’s treasure. The exact sequence of events is unclear due to record losses during the Paris Commune of 1871. The theft was a major scandal, prompting the reappointment of Eugène-François Vidocq, founder of the Sûreté, to lead the investigation and recover the treasure. With Vidocq in charge (Vidoq was a former criminal and convict turned policeman, believed to be Victor Hugo’s inspiration for Javert and Valjean of Les Misérables) a portion of the stolen treasure was retrieved from the Seine River where it was hidden in leather bags. Unfortunately, the treasure’s theft led to a dramatic loss of French cultural heritage, as only a portion of the treasure was recovered with many pieces lost forever. Today, the Treasure of Childeric I remains a testament to the historical significance and enduring legacy of the early Frankish rulers.

For a PowerPoint on The Treasure of Childeric I, please… Check HERE!