Saint Demetrios in prayer position with Patrons

by ArchaeologyArtByzantine ArtByzantine MosaicsByzantiumEarly Christian ArtGreek ArtStudent ActivitiesWorksheets
Wall mosaic with Saint Demetrios in prayer position and patrons, 5th-6th cent., Detached Mosaic from the North Inner Aisle of Saint Demetrius Church in Thessaloniki, Glass tiles in Mortar, 98×83 cm, Museum of Byzantine Culture, Thessaloniki, Greece https://www.mbp.gr/exhibit/entoichio-psifidoto-me-ton-agio-dimitri/

On the 26th of October, the Feast Day of Saint Demetrios… Let us honor with hymns the great soldier and athlete, the crowned victor, and the one who is marvelous among the martyrs, who was pierced by a spear in his side like the Master, the divine Demetrios… On the same day, let us remember a magnificent Wall Μosaic from the North Inner Aisle of his great Basilica in Thessaloniki, depicting Saint Demetrios in prayer position with Patrons, exhibited today in the city’s Museum of Byzantine Culture! https://www.imlagada.gr/default.aspx?catid=185

The year 1907 marked a pivotal moment for both Thessaloniki and Byzantine art. On August 1st, while the city was still under Ottoman rule, authorities began extensive renovations on Casimir Camii, originally the city’s Byzantine Church of Saint Demetrios. During the repairs, a remarkable and unexpected discovery was made: magnificent, well-preserved mosaics were uncovered on the wall of the North Inner Aisle of the nearly dilapidated church. The quality and preservation of these mosaics astounded scholars and Byzantinologists worldwide, prompting many to rush to Thessaloniki to study and document these extraordinary artworks.

Then, disaster struck on the 5th of August 1917… a great fire swept through the thriving city of Thessaloniki destroying two-thirds of the city’s center and leaving more than 70,000 homeless. The Great Fire of 1917 was a devastating event that ravaged many of the city’s historic and religious landmarks. Among the most significant losses was the Church of Saint Demetrios, the revered basilica dedicated to the city’s patron saint. The beautiful Mosaics of the Church’s North Inner Aisle discovered in 1907 were gone forever! Few photographs and even fewer paintings, created with care and sensitivity by artists, is all that remains… except a fragment of the mosaic over spandrel H depicting Saint Demetrios in prayer position with Patrons.

Originally built in the 5th century, this iconic structure was a center of worship and pilgrimage for centuries. The fire, which spread rapidly through the city’s wooden buildings, engulfed the church, causing extensive damage to its structure and the destruction of many of its priceless mosaics and artefacts. The loss of the church was deeply felt by the residents of Thessaloniki, as it symbolized not just a religious focal point, but also a vital part of the city’s cultural and spiritual heritage. The basilica was later meticulously restored, but the destruction marked a significant chapter in the history of Thessaloniki, highlighting the vulnerability of its treasured monuments to such catastrophes.

Wall mosaic with Saint Demetrios in prayer position and patrons (details), 5th-6th cent., Detached Mosaic from the North Inner Aisle of Saint Demetrius Church in Thessaloniki, Glass tiles in Mortar, 98×83 cm, Museum of Byzantine Culture, Thessaloniki, Greece https://helenmilesmosaics.org/ancient-mosaics/st-dimitrios-of-thessaloniki/

The mosaics in the North Inner Aisle of the Church of Saint Demetrios in Thessaloniki were among the most exquisite examples of Byzantine art. Their discovery, after having been concealed for centuries, was hailed as a major archaeological find, offering insight into the religious and artistic heritage of the city. These mosaics, dating back to various periods, depicted a range of sacred themes, including scenes of his miracles, and figures of saints and angels in prayerful poses. They were celebrated for their vibrant colours, detailed craftsmanship, and the way they illuminated the spiritual atmosphere of the basilica. The loss of these mosaics, in the Great Fire of 1917, represented a significant cultural and artistic tragedy, as they were irreplaceable treasures that connected the faithful to the early Christian and Byzantine heritage of the city. The destruction of the North Inner Aisle mosaics not only diminished the church’s aesthetic splendour but also erased a vital link to the city’s rich historical and religious narrative.

Museum of Byzantine Culture, Room 1 (where the Mosaic is exhibited), Thessaloniki, Greece
https://pierrekosmidis.blogspot.com/2015/11/1941-nazi-invasion-of-greece-through.html

According to the Thessaloniki Museum of Byzantine Culture experts, the mosaic of Saint Demetrios in prayer position with Patrons depicts the Saint… standing, in front of a golden niche of a building or kiborium decorated with a blue clam. He is in a posture of supplication, prayer, with his hands raised to the sky. He wears the uniform of an official official with a luxurious gold-embroidered cloak and tunic, which closes at the neck with embroidery of precious stones. To the left, at the height of the saint’s waist, is depicted a child with rich clothes and with his hands in a prayer position. Next to the left palm of the saint, a male head can be seen, possibly of the donor. The composition was probably a thanksgiving or a plea for help to the saint, by a wealthy believer. https://www.mbp.gr/exhibit/entoichio-psifidoto-me-ton-agio-dimitri/

If interested in the North Inner Aisle Mosaics of Hagios Demetrios in Thessaloniki… check The Mosaic Decoration of S. Demetrios, Thessaloniki: A Re-Examination in the Light of the Drawings of W. S. George by Robin S. Cormack in The Annual of the British School at Athens,
Vol. 64 (1969), pp. 17-52 (51 pages), Published by: British School at Athens https://www.jstor.org/stable/30103330?read-now=1&refreqid=excelsior%3A63a6e304a6bc30610613803b3f259b31&seq=1#page_scan_tab_contents

For a Student Activity, please… Check HERE!

Fruit Still Life with Chinese Export Basket

by 19th century ArtAmerican ArtArtStudent ActivitiesWorksheets
James Peale, American Artist, 1749-1831
Fruit Still Life with Chinese Export Basket, 1824, Oil on Wood, 37.8 x 45.6 cm, National Gallery of Art, Washington DC, USA
https://www.nga.gov/collection/art-object-page.71370.html

Season of mists and mellow fruitfulness, /    Close bosom-friend of the maturing sun; / Conspiring with him how to load and bless /    With fruit the vines that round the thatch-eves run; / To bend with apples the moss’d cottage-trees, /    And fill all fruit with ripeness to the core; /       To swell the gourd, and plump the hazel shells /    With a sweet kernel; to set budding more, / And still more, later flowers for the bees, / Until they think warm days will never cease, /       For summer has o’er-brimm’d their clammy cells… We find an evocative celebration of nature’s abundance in the harmony between John Keats’ ode to autumn and James Peale’s Fruit Still Life with Chinese Export Basket. Keats’ season of mists and mellow fruitfulness resonates with Peale’s thorough portrayal of ripened fruit—both works capture the fullness and quiet beauty of harvest time. Keats personifies the maturing season as a conspirator with the sun, swelling fruit to its ripest state, while Peale visually echoes this fullness with rich detail and vibrant colour. Together, they invite reflection on the fleeting yet generous nature of life’s bounty. https://www.poetryfoundation.org/poems/44484/to-autumn

James Peale (1749–1831) was a prominent American painter, known for his contributions to Portraiture, Still Life, and Miniature painting. Born in Chestertown, Maryland, Peale was part of a highly artistic family, most notably the younger brother of Charles Willson Peale, one of the most famous American artists of the time. Initially trained as a saddler, James Peale later joined the Continental Army during the American Revolution, where he served as a soldier while pursuing his passion for art. After the war, he apprenticed with his brother Charles, learning the fine art of painting. By the 1780s, James had established himself as a skilled portraitist, known particularly for his miniatures, which were highly sought after by wealthy patrons of the time. As part of the renowned Peale family of artists, James influenced the next generation, including his daughters Sarah Miriam Peale and Anna Claypoole Peale, who became notable painters themselves. His contribution to American still life painting marks him as a pivotal figure in the genre’s development.

In the early 19th century, James Peale shifted his artistic focus to still life painting, where he demonstrated an exceptional ability to capture the intricate textures and vibrant colours of natural objects, particularly fruit. His works, such as Fruit Still Life with Chinese Export Basket of 1824, are celebrated for their precision, balance, and depth, conveying not only the beauty of ripened Fruits of Autumn but also symbolic themes of abundance and transience.

James Peale, American Artist, 1749-1831
Fruits of Autumn, c. 1829, oil on panel, 39.3 x 55.9 cm, Private Collection https://commons.wikimedia.org/wiki/File:James_Peal%27s_oil_painting_%27Fruits_of_Autumn%27.jpg

Peale’s still lifes stand out for their meticulous attention to detail and masterful use of light and composition. In his work, James Paele achieves a striking realism that invites viewers to reflect on the richness and fragility of nature. His ability to elevate simple, everyday objects into subjects of contemplation helped redefine still life painting in America, transforming it from decorative art into a more meaningful exploration of life’s fleeting abundance. Peale’s influence laid the groundwork for future American artists, establishing still life as a respected and serious genre in the United States.

James Peale’s Fruit Still Life with Chinese Export Basket, a delicate interplay of light and shadow brings to life a serene arrangement of fruit. A speckled yellow apple, blemished by a wormhole, rests beside lush bunches of purple and green grapes, cascading over a sand-colored stone shelf. To the right, an intricately designed white basket, adorned with dark blue trim and pierced with graceful patterns, cradles more apples and grapes. The fruit gleams under soft light from the upper left, illuminating the textured surfaces and vibrant colours, while the background shifts from a luminous silvery grey to a deep shadow, creating a sense of depth and contrast. Peale’s attention to detail, from the delicate curve of the leaves to the subtle imperfections in the fruit, evokes both natural beauty and the passage of time, offering a glimpse into the ephemeral richness of nature.

For a Student Activity inspired by James Peale’s painting Fruit Still Life with Chinese Export Basket, please… Check HERE!

Bibliography: https://www.nga.gov/collection/artist-info.6676.html and https://www.jstor.org/stable/1005692 and https://tfaoi.org/aa/8aa/8aa142.htm

Adam’s Statue by Tullio Lombardo

by 15th century Italian Renaissance ArtArtItalian Renaissance ArtPowerpointsRenaissanceRenaissance ArtSculptureVenetian Art
Tullio Lombardo, ca. 1455–1532
Adam, ca. 1490–95, Marble, Height: 191.8 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/197822

In his epic poem Paradise Lost, the English poet John Milton (1608–1674) laments, “O miserable mankind, to what fall / Degraded, to what wretched state reserved! … Can thus / The image of God in man created once / So goodly and erect, though faulty since, / To such unsightly sufferings be debased?” Here, Milton explores themes of the fall from grace, human suffering, and the loss of innocence. Similarly, Adam’s Statue by Tullio Lombardo captures a moment of contemplation, embodying divine beauty and the ominous awareness of the impending fall. Both works reflect the tragic transformation from innocence to suffering, underscoring the tension between divine likeness and human frailty. https://besharamagazine.org/newsandviews/poems-for-these-times-11/

Presenting questions starting with “who,” “what,” “how,” “when,” and “where” about Tullio Lombardo’s statue of Adam at the MET Museum in New York City, let’s explore the artwork’s historical context, artistic significance, and the story behind its creation and restoration.

Who was Tullio Lombardo, and What role did he play in the Renaissance art movement? Tullio Lombardo (c. 1455–1532) was a renowned Italian sculptor of the Renaissance, best known for his mastery of marble and ability to create lifelike figures with a classical elegance that set him apart from his contemporaries. A member of the distinguished Lombardo family of sculptors and architects based in Venice, Tullio played a significant role in the Renaissance art movement by blending classical forms with innovative techniques that emphasized naturalism and human emotion. His work, including the famous statue of Adam, showcases a deep understanding of human anatomy and a keen sensitivity to the subtleties of light and shadow, making him a pivotal figure in the transition from the Gothic to the Renaissance style in sculpture. Through his work, Tullio Lombardo contributed to the revival of classical ideals and helped shape the evolution of Renaissance art in Northern Italy.

What is the significance of the statue of Adam by Tullio Lombardo in the context of Renaissance sculpture? The statue of Adam by Tullio Lombardo holds significant importance in the context of Renaissance sculpture as it exemplifies the Renaissance ideals of humanism, classical beauty, and naturalism. Created around 1490–1495, this life-sized marble statue is celebrated for its harmonious proportions, anatomical accuracy, and serene expression. It reflects a deep study of classical antiquity and a commitment to representing the human form in a more naturalistic and idealized manner. The statue is particularly notable for being one of the earliest known life-sized representations of a biblical figure in the nude since antiquity, bridging the gap between religious themes and classical aesthetics. Its sophisticated use of contrapposto, a technique borrowed from ancient Greek and Roman sculptures, demonstrates Lombardo’s mastery in conveying a sense of movement and realism. As such, the statue of Adam is not only a remarkable example of Renaissance artistry but also a pivotal work that illustrates the period’s broader cultural and intellectual engagement with the human experience, both physical and spiritual.

Tullio Lombardo, ca. 1455–1532
Adam, ca. 1490–95, Marble, Height: 191.8 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/197822

When was the statue of Adam by Tullio Lombardo created, and How does its style reflect the artistic trends of its time? The statue of Adam by Tullio Lombardo was created around 1490–1495 during the Renaissance, a period marked by a renewed interest in classical antiquity and a focus on naturalism, proportion, and human anatomy. Its style reflects the artistic trends of the time by embodying the Renaissance ideals of humanism and the revival of classical forms. The statue’s harmonious proportions, balanced composition, and realistic portrayal of the human body demonstrate a profound understanding of classical Greek and Roman sculptures, which greatly influenced Renaissance artists. Furthermore, Lombardo’s use of contrapposto—a stance that conveys a sense of relaxed naturalism and potential movement—aligns with the period’s emphasis on depicting figures in dynamic yet graceful poses. The lifelike detail and emotional subtlety in Adam’s expression also reflect the Renaissance trend of capturing the human experience in both its physical and psychological dimensions, setting Lombardo’s work apart as a quintessential example of the era’s sculptural achievements.

Where was the statue of Adam originally displayed, and How did it come to be part of the MET Museum’s collection? The statue of Adam by Tullio Lombardo was created as part of a grand tomb monument for Doge Andrea Vendramin, a powerful political leader in Venice, and was displayed in the Church of Santa Maria dei Servi in Venice. The tomb was later relocated to the church of Santi Giovanni e Paolo, where it remained for several centuries. In the 19th century, the statue, along with other parts of the monument, was separated from its original context and entered the art market. In 1936, the statue of Adam was acquired by the Metropolitan Museum of Art (MET) in New York City through purchase, becoming a significant addition to the museum’s collection of Renaissance sculpture. The MET’s acquisition of the statue reflects its commitment to preserving and showcasing masterworks of European art and its desire to provide access to exceptional examples of Renaissance sculpture to a broader public audience.

For a PowerPoint inspired by Adam’s Statue by Tullio Lombardo, please… Check HERE!

The ‘Council of the Gods’ by Rubens and Renoir

by 17th century Art19th century ArtArtBaroqueFrench ArtImpressionismStudent ActivitiesWorksheets
Peter Paul Rubens, Flemish Baroque Artist, 1622 – 1624
The Council of the Gods, 1621-25, Oil on Canvas, 394×702 cm, Louvre, Paris, France https://www.wikiart.org/en/peter-paul-rubens/the-council-of-the-gods-1624
Pierre-Auguste Renoir, French Impressionist Artist, 1841–1919
Copy after “The Council of the Gods” by Peter Paul Rubens, 1861, Oil on Canvas, 45.8 x 83.5, National Museum of Western Art, Tokyo, Japan https://collection.nmwa.go.jp/artizewebeng/search_7_detail.php  

In the world of art, the interplay between inspiration and imitation often creates fascinating dialogues across time, as seen in the connection between Peter Paul Rubens’s The Council of the Gods and Pierre-Auguste Renoir’s faithful copy of the same masterpiece. Rubens’s original, a vibrant Baroque tableau teeming with mythological deities, showcases his mastery of dynamic composition and rich colouration, celebrating the grandeur of the divine. Centuries later, Renoir, an Impressionist renowned for his luminous and delicate brushwork, meticulously recreated Rubens’s work, demonstrating not only his admiration for the Flemish master but also his own evolving style through this act of homage. While identical in subject, the ‘Council of the Gods’ by Rubens and Renoir reflect the distinct artistic sensibilities and techniques of their respective creators, bridging the Baroque and Impressionist eras in a captivating visual conversation.

Peter Paul Rubens, Flemish Baroque Artist, 1622 – 1624
The Council of the Gods, 1621-25, Oil on Canvas, 394×702 cm, Louvre, Paris, France https://www.wikiart.org/en/peter-paul-rubens/the-council-of-the-gods-1624

Peter Paul Rubens’s Marie de’ Medici Cycle is a monumental series of 24 large-scale paintings commissioned by the Queen of France, to glorify her life and reign. Completed between 1622 and 1625, the cycle is a masterful fusion of Baroque dynamism, allegory, and historical narrative, vividly depicting key events from Marie’s life intertwined with mythological and symbolic figures. Rubens skillfully portrays the queen’s political achievements, personal trials, and divine favour, using his characteristic robust figures, dramatic compositions, and vibrant colours. The Medici Cycle, housed in the Louvre, stands as one of Rubens’s most ambitious works, exemplifying his ability to blend grand historical themes with the opulence and drama of the Baroque style.

The Council of the Gods, part of Rubens’s Medici Cycle, is a complex and allegorical painting that commemorates Marie de’ Medici’s role as regent of France and her efforts to promote peace in Europe through strategic royal marriages. The painting, one of the least understood in the cycle, presents a celestial assembly of mythological figures, including Apollo, Pallas, and Cupid, who symbolize Marie’s commitment to overcoming discord and fostering harmony. Central to the composition are Cupid and Juno binding two doves over a split sphere, symbolizing Marie’s hopes for a peaceful alliance between France and Spain through the marriages of her children, Louis XIII and Elizabeth, to the Spanish royals. The lack of a specific temporal or spatial setting, combined with the rich array of deities, creates a scene that transcends literal interpretation, instead serving as an allegory for Marie’s dedication to peace and continuity of her late husband’s policies during her regency.

Pierre-Auguste Renoir, French Impressionist Artist, 1841–1919
Copy after “The Council of the Gods” by Peter Paul Rubens, 1861, Oil on Canvas, 45.8 x 83.5, National Museum of Western Art, Tokyo, Japan https://collection.nmwa.go.jp/artizewebeng/search_7_detail.php

Pierre-Auguste Renoir, one of the leading figures of the Impressionist movement, was profoundly influenced by the masterpieces housed in the Louvre during his formative years as an artist. Growing up in close proximity to this treasure trove of art, Renoir developed a deep admiration for the works of great colourists in art history, particularly Peter Paul Rubens, François Boucher, and Eugène Delacroix. These artists, known for their mastery of colour, light, and form, became central to Renoir’s own artistic development.

In 1861, after obtaining permission to copy works from the Louvre’s galleries, Renoir embarked on the meticulous study of Rubens’s monumental 1622–1625 Marie de’ Medici cycle. One of the pieces he replicated during this period was Rubens’s Council of the Gods. This work, originally part of the larger Marie de’ Medici series, portrays a gathering of the classical deities in a vibrant and dynamic composition.

Renoir’s copy of The Council of the Gods (housed at The National Museum of Western Art, Tokyo) reflects his keen observation and skilful replication of Rubens’s use of colour, anatomy, and movement. By engaging with Rubens’s work in such a direct manner, Renoir was able to internalize the poses of the nude deities, which he viewed as epitomes of idealized human form. This exercise was not merely a technical reproduction but a profound learning experience that shaped Renoir’s understanding of figure painting, particularly in how to portray the nude human body with a sense of vitality and grace. The artist’s engagement with Rubens’s work was a crucial step in his artistic journey, providing him with a foundation in classical techniques and an understanding of the expressive potential of colour and form. These elements would later become hallmarks of his own distinctive style.

For Student Activities, please… Check HERE!

Talos the ancient Greek automaton

by Ancient Greek ArtArchaeologyArtGreek ArtMythologyPotteryStudent ActivitiesWorksheets
The Death of Talos by the Talos Painter, 425-400 BC, Attic Red-Figured Volute Krater, Τerracotta, Height: 75 cm, Archaeological Museum Jatta, Ruvo di Puglia, Italy – Photo Credit: Amalia Spiliakou, February 18, 2024, ‘Meanings’. Personifications and Allegories from Antiquity to Today Exhibition, Acropolis Museum, Athens, Greece

[1638] And Talos, the man of bronze, as he broke off rocks from the hard cliff, stayed them from fastening hawsers to the shore, when they came to the roadstead of Dicte’s haven. He was of the stock of bronze, of the men sprung from ash-trees, the last left among the sons of the gods; and the son of Cronos gave him to Europa to be the warder of Crete and to stride round the island thrice a day with his feet of bronze. Now in all the rest of his body and limbs was he fashioned of bronze and invulnerable; but beneath the sinew by his ankle was a blood-red vein; and this, with its issues of life and death, was covered by a thin skin… This is how Apollonius of Rhodes, the 3rd century BC Greek poet and scholar known for his epic poem Argonauticα‘—which recounts Jason and the Argonauts’ quest for the Golden Fleece—describes Talos, the ancient Greek automaton. https://www.theoi.com/Text/ApolloniusRhodius4.html

The myth of Talos, the man of bronze, is effectively depicted in the Talos Vase, a notable ancient Greek Volute Krater renowned for its intricate portrayal of the mythical Minoan giant. Dating back to the late fifth century B.C., and created by the so-called Talos Painter, this remarkable artefact was discovered in the necropolis of Ruvo in Apulia, Italy. Today, this significant piece is housed in the Museo Jatta in Ruvo di Puglia, where it remains an important work for the study of ancient Greek art and mythology.

The Talos Painter, a prominent figure of the ‘Rich Style’ in ancient Greek vase painting, was active during the late fifth century BC and early fourth century BC. His conventional name was assigned by J.D. Beazley due to his depiction of the mythical bronze giant Talos on the main side of the volute krater found in the necropolis of Ruvo in Apulia. Scholars suggest that he may have been a pupil of the Meidias Painter and worked, for a while, alongside the Modica Painter in the same workshop. The artist preferred decorating large vases, particularly craters and loutrophoroi, as well as Panathenaic amphorae, nuptial lebes, hydriae, and pelikes. His artistic identity is distinguished by his extensive use of shading, bold contour lines,  and white colour, which successfully conveyed, for example, the bronze body of Talos in the Ruvo Krater. The grandeur of his designs, the richly decorated garments of depicted figures, and the indication of landscape in his compositions are elements that demonstrate the artist’s awareness of the achievements of large-scale painting, and his enthusiasm to incorporate them in his own dynamic compositions.

The Death of Talos by the Talos Painter, 425-400 BC, Attic Red-Figured Volute Krater, Τerracotta, Height: 75 cm, Archaeological Museum Jatta, Ruvo di Puglia, Italy – Photo Credit: Amalia Spiliakou, February 18, 2024, ‘Meanings’. Personifications and Allegories from Antiquity to Today Exhibition, Acropolis Museum, Athens, Greece

What is the specific decoration of the Talos Vase?

The Krater is adorned with intricate mythological scenes across its entire surface. On its main side, the central focus is the death of Talos, the mythical bronze giant. Talos stands at the center in a dynamic pose, arms outstretched, and legs crossed, as he powerlessly collapses. Rendered in white and yellowish hues, Talos, his muscular, bronze body beautifully rendered, is the striking protagonist of the scene. Behind Talos stands a tree trunk with sparse leaves, likely the sacred plane tree of Crete associated with Zeus and Europa’s myth. Flanking Talos are the Tyndaridae, Castor and Pollux, identifiable by inscriptions. Castor is mounted on horseback, while Pollux stands nearby, both depicted as youthful, beardless, wreathed, and beautifully dressed figures.

The Death of Talos by the Talos Painter, 425-400 BC, Attic Red-Figured Volute Krater, Τerracotta, Height: 75 cm, Archaeological Museum Jatta, Ruvo di Puglia, Italy
https://www.ancientworldmagazine.com/articles/talos-bronze-guardian/

At the rear of Pollux, the Greek painter presents a woman richly dressed in an oriental garment. She stands in a contrapposto stance, holding a sack, wreathed with ivy and wearing the Phrygian cap. She is identified as Medea, the sorceress, and she is placed in front of Argo, the boat of the Argonauts, out of which come Kalais and Zetes. At the far right, by Castor, Poseidon and his queen, Amphitrite, are presented observing the event, while on the lower right side of the composition a young girl, frightened and running away, is believed to be the personification of the island of Crete.

The Death of Talos by the Talos Painter (Side B), 425-400 BC, Attic Red-Figured Volute Krater, Τerracotta, Height: 75 cm, Archaeological Museum Jatta, Ruvo di Puglia, Italy https://www.mediastorehouse.com/fine-art-finder/artists/andrea-pisano/death-talos-greek-mythology-giant-back-38174716.html

Side B of the Talos Vase, not as well preserved as that of Side A (the Death of Talos), presents an unidentified scene of 7 figures, with the winged goddess Nike, two male figures believed to be the Dioscuri, a second, smaller in size representation of Nike,  goddess Athena, and a badly preserved, identified by name couple. Finally, the neck of the Krater, on both sides, is decorated with the God Dionysos and his lifeful companions.

For a Student Activity, inspired by the Myth of Talos, the ancient Greek automaton, please… Check HERE!

Bibliography: https://ikee.lib.auth.gr/record/124395/files/than.pdf (in Greek)

‘October’ Stained Glass Roundel

by 15th century ArtArtArt of the United KingdomMedieval ArtStudent ActivitiesWorksheets
October, ca. 1480, Clear and coloured glass with painted details in brown/black pigment and yellow (silver) stain, Diameter: 29.2cm, V&A Museum, London, UK https://collections.vam.ac.uk/item/O7620/october-roundel-unknown/

I’m not sure if you enjoy Japanese Haiku, those brief poems with 3 lines and 17 syllables. As I look at the ‘October’ Stained Glass Roundel at the Victoria and Albert Museum depicting a farmer sowing seeds, I reminisce about the ‘Haiku’ games I used to play with my students. And just like that, a new Haiku came to life… Red and yellow glow, / Seeds are sown in glass and light, / Medieval blooms…

Stained glass roundels offer a vivid glimpse into the daily lives and seasonal rhythms of medieval society, and the Victoria and Albert Museum holds a remarkable example in its collection. Among the treasures acquired by the museum in 1931 are three roundels, which once formed part of a larger set depicting the ‘Labours of the Months.’ Although the original location of these roundels remains a mystery, they are believed to have originated from the old parsonage at St Michael-at-Coslany in Norwich. One of the missing pieces, illustrating the month of January or February, now resides in the Burrell Collection in Glasgow, connecting these scattered remnants of medieval art across time and space.

The ‘Labours of the Months’ is a captivating iconographic theme in medieval art, reflecting the cyclical nature of rural life and the deep connection between humanity and the seasons. Each month was traditionally represented by a specific task or activity, from sowing seeds in October to harvesting in August, offering a visual calendar of rural labour. These depictions often appeared in illuminated manuscripts, sculptures, and stained glass, serving as both educational tools and spiritual reflections of the divine order of the world. In churches and cathedrals, the ‘Labours of the Months’ provided parishioners with a relatable visual narrative that connected the rhythms of the natural world with their spiritual lives.

The Stained Glass Roundel depicting ‘October’ in the Victoria and Albert Museum beautifully exemplifies the role of stained glass in medieval church decoration. With its vibrant colours and intricate design, this roundel transforms the agricultural task of sowing seeds into a luminous spectacle of divine light. Like many stained glass windows of the period, this piece is not just a work of art but a powerful symbol of spiritual illumination. The depiction of a farmer scattering seeds is rendered in brilliant hues that would have cast vivid images across the stone interiors of the church, engaging and educating the faithful.

According to the V&A experts, …the farmer is depicted dressed in a red tunic and yellow hose, his head covered by a capuchon, indicating cool weather conditions. He has a pouch attached to a belt around his waist, and over his shoulder, he carries a wicker basket containing seed that he strews across the fields. He is probably sowing seed for wheat that will be harvested in the spring. https://collections.vam.ac.uk/item/O7620/october-roundel-unknown/

This roundel, believed to have originated from the old parsonage at St Michael-at-Coslany in Norwich, required exceptional craftsmanship—each piece of glass was carefully selected, painted, and assembled to convey the rhythm of life and labour in harmony with the divine. Serving both as an educational illustration for a largely illiterate medieval population and as a spiritual tool, this roundel is a testament to the enduring legacy of stained glass in guiding the faithful toward contemplation and connection with the divine.

For a Student Activity inspired by the V&A Museum roundel of ‘October’, please… Check HERE!

Palacio de Santa María del Naranco and San Miguel de Lillo

by ArchaeologyArtPowerpointsSocial StudiesSpanish Art
Palacio de Santa María del Naranco, consecrated in 848, Mount Naranco, Spain – Photo Credit: Amalia Spiliakou, May 2024
St. Michael of Lillo, completed in 842, Mount Nranco, Spain – Photo Credit: Amalia Spiliakou, May 2024

Nestled in the heart of Asturias, Spain, Mount Naranco stands as a majestic sentinel overlooking the vibrant city of Oviedo. This iconic mountain is not only a natural wonder but also a treasure trove of history and culture, boasting breathtaking views and ancient pre-Romanesque architecture. From the enchanting Palacio de Santa María del Naranco and San Miguel de Lillo churches to the lush, green trails that invite hikers and nature enthusiasts, Mount Naranco offers a unique blend of serenity and historical significance. This is a place where the past and present beautifully converge, offering a glimpse into the rich heritage and stunning landscapes of the Oviedo area.

Mount Naranco’s historical significance extends beyond its architectural marvels, which are deeply intertwined with the broader history of Asturias and Spain. This mountain has been a strategic vantage point and a symbol of resilience throughout the centuries. During the early medieval period, the area around Mount Naranco played a crucial role in the Christian Reconquista, serving as a stronghold for the Asturian Kingdom against Moorish invasions. The region witnessed numerous battles and skirmishes that were pivotal in the eventual reconquest of the Iberian Peninsula. Additionally, the mountain has long been a cultural and spiritual landmark, with its slopes and surrounding areas being integral to local folklore and traditions. Over the centuries, Mount Naranco has remained a symbol of the enduring spirit and historical legacy of the Asturian people, reflecting their role in the broader narrative of Spanish history.

The churches of Santa María del Naranco and San Miguel de Lillo on Mount Naranco near Oviedo, Spain, are remarkable examples of pre-Romanesque Asturian architecture, dating back to the 9th century. These historical structures, originally built within the Asturian Royal Complex, reflect the artistic and cultural achievements of the Asturian Kingdom.


Palacio de Santa María del Naranco, consecrated in 848, Mount Naranco, Spain – Photo Credit: Amalia Spiliakou, May 2024

Santa María del Naranco, completed in 848 AD, was part of the palace complex of King Ramiro I of Asturias. Initially serving as a royal hall and recreational pavilion, it was later consecrated as a church dedicated to the Virgin Mary. Located on the southern slopes of Mount Naranco, and facing Oviedo, this edifice exemplifies the sophisticated architectural and engineering skills of the Asturian Kingdom during the early medieval period. Over the centuries, the building has undergone various modifications and restorations, but it has retained its historical and cultural significance as a symbol of Asturian heritage.

The artistic qualities and characteristics of Santa María del Naranco are a testament to the ingenuity and aesthetic sensibilities of pre-Romanesque Asturian architecture. The building features a rectangular plan with a two-story design, incorporating intricate barrel vaults and ribbed arches that highlight its structural sophistication. The exterior is adorned with elegantly carved stone reliefs and decorative elements, including animal motifs and geometric patterns. Inside, the refined use of space and light, coupled with the exquisite craftsmanship of the columns and capitals, creates a serene and harmonious atmosphere. The building’s elegant proportions and detailed ornamentation reflect a unique blend of Visigothic, Mozarabic, and Carolingian influences, making Santa María del Naranco a remarkable example of early medieval art and architecture.

St. Michael of Lillo, completed in 842, Mount Nranco, Spain – Photo Credit: Amalia Spiliakou, May 2024

San Miguel de Lillo, also constructed during the reign of King Ramiro I in the mid-9th century, was originally part of the same royal palace complex as Santa María del Naranco. This church, dedicated to Saint Michael, was intended to serve as a place of worship for the royal court. Though only about a third of the original structure has survived due to partial collapse, what remains continues to offer valuable insights into the architectural innovations and religious practices of the Asturian Kingdom. The church’s historical significance is underscored by its designation as a UNESCO World Heritage Site, reflecting its enduring importance in the region’s cultural and historical landscape.

The artistic qualities and characteristics of San Miguel de Lillo are distinct and noteworthy within the context of pre-Romanesque Asturian architecture. The church features a basilica plan with a central nave and two side aisles, separated by robust columns and arches. The remnants of the original structure reveal intricate stone carvings and reliefs, particularly around the doorways and capitals, depicting biblical scenes and symbolic motifs. Inside, the decorative use of stucco and frescoes, though largely faded, once added vibrant colour and spiritual narrative to the space. The craftsmanship evident in the surviving portions, such as the lattice windows and sculpted figures, showcases a blend of Visigothic and Mozarabic artistic influences, underscoring the church’s role as both a religious and cultural monument of its time.

For a PowerPoint on Pre-Romanesque Church Architecture in Asturias including Palacio de Santa María del Naranco and San Miguel de Lillo, please… Check HERE!

Bibliography: https://en.asturias.com/the-Asturian-preromanic-from-oviedo/ and https://www.packing-up-the-pieces.com/churches-monte-naranco-oviedo/

Bust of Prince Ankhhaf

by Ancient EgyptArchaeologyArtEgyptEgyptian ArtSculptureStudent ActivitiesWorksheets
Bust of Prince Ankhhaf, reign of Khafra 2520–2494 BC, Egyptian Old Kingdom, Dynasty 4, Findspot: Egypt, Giza, tomb G 7510, Painted Limestone, Height: 50.48 cm, Museum Fine Arts, Boston, USA https://www.ancient-egypt.co.uk/boston/ankhhaf/pages/boston_03_2006%20444%201.htm

In the world of ancient Egyptian art, true portraits were a rarity, making the Bust of Prince Ankhhaf a remarkable exception. Housed in the Museum of Fine Arts, in Boston, this limestone bust, coated with a delicate layer of plaster, showcases the masterful hand that sculpted its intricate details. Unlike the stylized depictions typical of the era, Ankhhaf’s visage is that of a real individual, imbued with personality and character. Historical inscriptions from his tomb reveal Ankhhaf’s royal lineage as the son of King Sneferu, brother to Pharaoh Khufu, and a high-ranking official who served as vizier and overseer of works for his nephew, Pharaoh Khafre. In these roles, Ankhhaf may have played a pivotal part in overseeing the construction of the second pyramid and the carving of the iconic Sphinx, cementing his legacy in the annals of ancient Egypt. https://collections.mfa.org/objects/45982

Prince Ankhhaf, a distinguished figure of Egypt’s Old Kingdom during the Fourth Dynasty (circa 2600 BCE), is believed to have been the son of Sneferu, though his mother’s identity remains unknown. Despite holding the prestigious title of “eldest king’s son of his body,” it was his half-brother Khufu who ascended to the throne after Sneferu. Alternatively, there is a possibility that Ankhhaf was the son of Huni, which would make him Sneferu’s half-brother.

The Prince served as Vizier to his half-brother Pharaoh Khufu and possibly his nephew Pharaoh Khafre. Renowned for his architectural prowess, Ankhhaf played a crucial role in the later stages of the construction of the Great Pyramid at Giza, overseeing the delivery of Tura White Limestone from quarry to port and ensuring its placement atop the pyramid’s limestone base. Egyptologists speculate that he also contributed architecturally to the Great Sphinx, another iconic structure in Giza. Ankhhaf’s familial ties were equally noteworthy; he married his half-sister Princess Hetepheres, with whom he had a daughter, also named Princess Hetepheres. His own tomb, Mastaba G7510 in the Eastern Cemetery of Giza, is one of the largest discovered at the site, reflecting his high status and enduring legacy in ancient Egyptian history.

Maps of the Giza Necropolis where Prince Ankhhaf’s Mastaba Tomb G7510, the largest in the East Field Cemetery, was discovered https://historyofegypt.net/?page_id=4760

Ankhhaf’s mastaba had a mudbrick chapel attached to its east side, oriented in such a way that it faced the chapel’s entryway. The chapel walls were covered in exquisitely modelled low relief sculptures, exemplary representations of Old Kingdom artistry, and characterized by their detailed and realistic depictions. These reliefs primarily adorn the walls of the chapel within the mastaba and depict various scenes that illustrate both daily life and ceremonial activities. The scenes feature intricate details, such as the rendering of human figures, animals, and hieroglyphic inscriptions, providing a fragmentary narrative of Ankhhaf’s life and his contributions. These reliefs also serve a symbolic function, intended to ensure the deceased’s safe passage to the afterlife and to perpetuate his memory and legacy. The craftsmanship of these sculptures demonstrates the high level of skill possessed by the artisans of the time and offers valuable insights into the aesthetic and cultural values of ancient Egypt during the 4th Dynasty.

The Bust of Prince Ankhhaf was discovered in 1925 during an excavation by the Harvard University–Museum of Fine Arts Expedition in the eastern cemetery at Giza. The excavation revealed the bust in the tomb’s chapel, an area rich with artefacts and inscriptions that shed light on the life and status of Ankhhaf. This significant find was awarded to Boston by the Egyptian Antiquities Service in gratitude for the Harvard-Boston Expedition’s painstaking work to excavate and restore objects from the tomb of Queen Hetepheres. It was transported to the Museum of Fine Arts in Boston, where it remains one of the museum’s prized pieces, offering a tangible connection to Egypt’s ancient past. https://collections.mfa.org/objects/45982

Bust of Prince Ankhhaf, reign of Khafra 2520–2494 BC, Egyptian Old Kingdom, Dynasty 4, Findspot: Egypt, Giza, tomb G 7510, Painted Limestone, Height: 50.48 cm, Museum Fine Arts, Boston, USA https://www.ancient-egypt.co.uk/boston/ankhhaf/pages/boston_03_2006%20444%201.htm

The bust of the Egyptian Prince Ankhhaf is renowned for its striking realism, a characteristic that sets it apart from other contemporary Egyptian art. Carved from limestone and originally coated with a thin layer of plaster, the bust portrays Ankhhaf with a remarkable level of detail and individuality. His features, those of a mature man, are solemn and introspective, with a prominent nose, fleshy lips, and slight furrows on his forehead and the sides of his lips, suggesting a thoughtful and possibly authoritative demeanour. The eyes, which were once painted white with brown pupils and carried puffy pouches underneath, add to the lifelike quality of the sculpture. This bust not only exemplifies the artistic skills of the time but also provides a rare glimpse into the personal appearance of an individual from ancient Egypt’s elite class.

For a Student Activity inspired by the Bust of Prince Ankhhaf, please… Check HERE!

Painter Lorenzo Lotto and Collector Andrea Odoni

by 16th century ArtArtItalian Renaissance ArtPowerpointsRenaissanceRenaissance ArtVenetian Art
Lorenzo Lotto, ca. 1480-1556
Portrait of Andrea Odoni, 1527, Oil on Canvas, 104 x 117 cm, Royal Collection, Hampton Court, UK https://el.wikipedia.org/wiki/%CE%91%CF%81%CF%87%CE%B5%CE%AF%CE%BF:Lorenzo_Lotto_-_Andrea_Odoni_%281488-1545%29_-_Google_Art_Project.jpg

In the rich tapestry of Renaissance art, few relationships are as intriguing as that between Painter Lorenzo Lotto and collector Andrea Odoni. Lotto, a masterful Venetian painter known for his emotive portraits and religious works, found a patron and admirer in Odoni, a wealthy merchant and avid art collector. This post delves into their lives, their contributions to the art world, and the fascinating intersection of their paths.

Lorenzo Lotto was born around 1480 in Venice, Italy, and was a prominent painter of the High Renaissance. He trained in the vibrant Venetian art scene, which greatly influenced his early works. Despite his Venetian roots, Lotto spent much of his career working in other regions such as Treviso, Bergamo, and the Marches, seeking patronage and commissions. This itinerant lifestyle led to diverse influences and experiences that shaped his unique style. He remained relatively obscure compared to his contemporaries, partly due to his preference for working in smaller, less cosmopolitan cities.

Lotto’s artistic achievements are notable for their emotional depth and psychological insight, distinguishing him from many of his peers. His portraits are celebrated for their reflective quality, often capturing the sitter’s personality and mood with remarkable sensitivity. He also produced a significant body of religious works, characterized by their vivid colour, dynamic compositions, and intricate detail. Despite not achieving the same level of fame as some of his contemporaries during his lifetime, Lotto’s work has gained considerable recognition and appreciation in modern times for its originality and emotional intensity.

Andrea Odoni, born in 1488 in Venice, was a prominent merchant who became renowned for his extensive art collection during the Italian Renaissance. Coming from a wealthy family, Odoni had the means to indulge in his passion for art, which he cultivated alongside his successful mercantile career. His home in Venice became a treasure trove of artistic works, attracting artists, intellectuals, and fellow collectors. Odoni’s refined taste and discerning eye made him one of the most respected collectors of his time, and he played a significant role in promoting the arts and supporting contemporary artists.

Odoni’s achievements as an art collector are highlighted by his ability to amass a diverse and high-quality collection that included works from both renowned and emerging artists. His collection featured pieces by masters such as Titian, Giorgione, and Lorenzo Lotto, the latter of whom painted a famous portrait of Odoni himself. This portrait, known as “Portrait of Andrea Odoni,” is celebrated for its detailed depiction of Odoni surrounded by classical artefacts, symbolizing his deep appreciation for art and culture. Odoni’s contributions to the art world extended beyond his collection, as he was instrumental in fostering a culture of art appreciation and intellectual exchange in Venice. His legacy endures as a testament to the vital role that collectors play in the preservation and promotion of artistic heritage.

Lorenzo Lotto’s Portrait of Andrea Odoni painted in 1527 and housed in the Royal Collection at Hampton Court, UK, is a masterful representation of the distinguished Venetian merchant and art collector. The painting captures Odoni seated in an opulent setting, surrounded by classical artefacts, sculptures, and a rich array of objects that reflect his status and intellectual pursuits. Odoni’s expressive face, with keen eyes and a thoughtful gaze, is the focal point of the composition. He holds in one hand a statuette of Diana of Ephesus, symbol of nature and idolatry, and with the other he clasps a cross to his chest. https://www.rct.uk/collection/405776/andrea-odoni

From an artistic standpoint, the portrait is a testament to Lotto’s skill in capturing not just the physical likeness of his subjects but also their character and social standing. The use of light and shadow, particularly on Odoni’s face, enhances the three-dimensionality of the figure and imbues the painting with a sense of realism. The meticulous detail of the artefacts surrounding Odoni reflects the Renaissance fascination with antiquity and the humanist values of the period. The composition’s richness and complexity suggest a narrative of intellectual curiosity and cultural engagement. The painting not only serves as a personal homage to Odoni’s love for art but also as a broader statement on the importance of collectors in preserving and celebrating cultural heritage. Through this portrait, Lotto provides insight into the sophisticated world of Renaissance collectors and their pivotal role in the art world.

One more note… Lorenzo Lotto’s Portrait of Andrea Odoni is imbued with a complexity that transcends a mere depiction of a collector, inviting viewers to contemplate a deeper narrative. The painting’s juxtaposition of Odoni’s right hand holding the pagan statuette of Diana with his left hand clutching a cross to his heart suggests a profound choice between the enduring power of nature and the transitory nature of human achievement. This contrast emphasizes Odoni’s prioritization of Christian faith over pagan antiquity, highlighting a tension between the values of the time.

For a PowerPoint inspired by the Painter Lorenzo Lotto and collector Andrea Odoni presentation, please… Check HERE!

A Gorge in the Mountains (Kauterskill Clove)

by 19th century ArtAmerican ArtArtPowerpoints
Sanford Robinson Gifford, American Artist, 1823–1880
A Gorge in the Mountains (Kauterskill Clove), 1862, Oil on Canvas, 121.9 x 101.3 cm, the ET, NY, USA
https://www.metmuseum.org/art/collection/search/10946?searchField=All&sortBy=Relevance&high=on&ao=
on&showOnly=openAccess&ft=*&offset=80&rpp=80&pos=139

When I look at Sanford Robinson Gifford’s painting A Gorge in the Mountains (Kauterskill Clove), I think of J. Hector St. John de Crevecœur and how he described, back in 1778, the character of Autumn… Great rains at last replenish the springs, the brooks, the swamp and impregnate the earth. Then a severe frost succeeds which prepares it to receive the voluminous coat of snow which is soon to follow; though it is often preceded by a short interval of smoke and mildness, called the Indian Summer. This is in general the invariable rule: winter is not said properly to begin until those few moderate days & the rising of the water has announced it to Man… https://books.google.gr/books?id=Z0zTH_qFXiAC&pg=PA14&redir_esc=y#v=onepage&q&f=false page 14

Sanford Robinson Gifford was a prominent American landscape painter associated with the Hudson River School, a mid-19th-century American art movement known for its romantic depiction of the American landscape. Born in Greenfield, New York, Gifford grew up in Hudson, New York, and initially studied at Brown University. However, he left college to pursue a career in the arts, studying at the New York City studio of John Rubens Smith and later at the National Academy of Design. Gifford’s extensive travels throughout the United States and Europe greatly influenced his work, allowing him to capture a wide variety of landscapes with a distinctive atmospheric quality.

Gifford’s artistic style is characterized by his masterful use of light and atmospheric effects, which he achieved through a technique known as “luminism.” This approach emphasized the precise rendering of light and tranquil scenes, often depicting the subtle interplay of light and shadow in landscapes. His paintings typically feature serene and expansive vistas, with meticulous attention to detail and a harmonious balance of composition. Works such as The Wilderness and A Gorge in the Mountains exemplify his ability to create a sense of depth and tranquillity, capturing the sublime beauty of the natural world. Gifford’s contribution to American art is his ability to evoke emotion and contemplation through his serene and luminous landscapes, making him a pivotal figure in the Hudson River School.

The artist’s connections to the Hudson River School were deeply rooted in his relationships with fellow artists and his shared vision of capturing the sublime beauty of the American landscape. He was closely associated with prominent figures such as Thomas Cole and Frederic Edwin Church, who were pivotal in defining the movement’s aesthetic. Gifford’s work was heavily influenced by Cole’s romanticism and Church’s dramatic use of light and detail, yet he developed his distinct style characterized by luminism, which focused on the tranquil and ethereal qualities of light. Gifford’s dedication to plein air painting, where he often sketched and painted outdoors to accurately capture natural light and atmosphere, aligned with the movement’s emphasis on realism and the meticulous observation of nature. Through his exhibitions and collaborations, Gifford contributed to the dissemination of the Hudson River School’s ideals, making him an integral part of this influential artistic movement.

A Gorge in the Mountains (Kauterskill Clove) by Sanford Robinson Gifford is a masterful landscape painting that exemplifies his luminist technique. Created in 1862, this work captures the majestic beauty of Kaaterskill Clove, a dramatic mountain gorge in the Catskills of New York. The painting showcases Gifford’s exceptional ability to render light and atmosphere, with soft, golden sunlight filtering through the mist and illuminating the lush, verdant foliage and rugged rock formations. The composition draws the viewer’s eye into the depths of the gorge, evoking a sense of tranquillity and awe at nature’s grandeur. Gifford’s meticulous attention to detail and his skilful use of light and shadow create a harmonious and immersive scene, making this painting a quintessential example of the Hudson River School’s celebration of the American wilderness.

Gifford, the only major Hudson River School painter to have grown up in the Catskills region of New York, made famous by Thomas Cole, the school’s founding figure, diverged from the tradition of focusing on central mountains or waterfalls in his depictions of the landscape. Instead, he emphasized the interplay of light and atmosphere, particularly as seen from Kauterskill Clove in the eastern Catskill Mountains. This approach marked a shift from the sublime to the meditative, with compositions that invited contemplation rather than awe. In his painting A Gorge in the Mountains (Kauterskill Clove), a hunter and his dog are subtly integrated into the rugged terrain, progressing towards a viewpoint overlooking the hazy ravine. https://www.metmuseum.org/art/collection/search/10946?searchField=All&sortBy=Relevance&high=on&ao=on&showOnly=openAccess&ft=*&offset=80&rpp=80&pos=139

For a PowerPoint Presentation, titled 10 Paintings by Sanford Robinson Gifford, please… Check HERE!