‘…nothing has ever delighted me more than gems…’ Rubens wrote to his friend and antiquarian Nicolas-Claude Fabri de Peiresc, and I think of The so-called ‘Rubens Vase’ in the Walters Art Gallery, in Baltimore. https://www.jstor.org/stable/879678The Burlington Magazine, Vol. 121, No. 916 (Jul. 1979), pp. 424+426-432 (8 pages)
Peter Paul Rubens (1577–1640) was a renowned Flemish Baroque painter, known for his masterful use of colour, dynamic compositions, and his contributions to the Counter-Reformation. What is lesser known is his passion for collecting ‘gems’ and antique ‘curiosities’. Known as a man of wide interests, the artist, described by Pierre Cassendi as a most experienced connoisseur of all antiquities, but most of all of cameos… was known to exchange his artworks for precious gems, and in his own words, never miss the opportunity to become familiar with antiquities and buy rarities that he paid cash.https://www.jstor.org/stable/879678
Rubens’s diverse collection encompassed classical sculptures, coins, medals, manuscripts, and paintings, reflecting a deep fascination with the world of art. Rubens’ interest in antiquities extended beyond mere aesthetics, as he sought to surround himself with artefacts that not only inspired his artistic endeavours but also fueled his scholarly curiosity about ancient history and civilization. His “cabinet of curiosities” served as a testament to his intellectual pursuits, creating a space where the convergence of art, literature, and science fostered learning and reflection. Rubens’ collaborations with other collectors, such as Archduke Leopold Wilhelm of Austria, and his active engagement in the cultural and intellectual circles of his time further solidified his legacy as a multifaceted figure in the rich tapestry of the Baroque period.
Among the artist’s many treasures is The so-called ‘Rubens Vase’, currently in the Walters Art Gallery. According to the Museum experts, this amazing piece was most probably created in high relief from a single piece of agate, in the imperial workshops of Constantinople for an unknown Byzantine Emperor. It made its way to France, probably carried off as treasure after the sack of Constantinople in 1204 during theFourth Crusade, where it passed through the hands of some of the most renowned collectors of western Europe, including the Dukes of Anjou and King Charles V of France. In 1619, the vase was purchased by the great Flemish painter Peter Paul Rubens in Paris, at the Saint-Germaine Fair for the considerable price of 2,000 scudi. Rubens was so excited about his purchase, that he created a drawing of his agate vase, which is currently in the collection of the Hermitage Museum, in Saint Petersburg. https://art.thewalters.org/detail/10284/the-rubens-vase/
The Rubens Vase is an amazing work of art, an exquisite testament to craftsmanship — almost in perfect condition, ovoid in shape, with a finely turned rim veiled in a gold mount, flattened yet tapered to a flanged base. The vase’s handles, resembling knobs, bear the characteristics of Pan, his coarse features, drooping goat-like ears, moustache, and free-cut horns adding an intriguing dimension. As the heads of Pan rest on large acanthus leaves, and lively grapevines, with leaves, tendrils, and small fruit in high relief, playfully embrace the wider sides, the ‘Rubens Vase’ unfolds a captivating narrative in its design. The bottom, adorned with a low relief carving of a rosette, completes this masterpiece, leaving an indelible mark on the connoisseur’s imagination! https://www.jstor.org/stable/20168774?read-now=1&seq=2
Eros Punished, 1st century AD, Fresco, 126×162.3 cm, from the House of Punished Eros in Pompeii, National Archaeological Museum of Naples, Italy – Photo Credit: Amalia Spiliakou, February 18, 2024, ‘Meanings’. Personifications and Allegories from Antiquity to Today Exhibition, Acropolis Museum, Athens, Greece
On February 17, 2024, in Athens, attending an exceptional exhibition, titled ‘NοΗΜΑΤΑ’: Personifications and Allegories from Antiquity to Today, held at the Acropolis Museum, I came face to face with an adorable Pompeiian fresco titled Eros Punished. It is now part of the Museo Archaeologico Nazionale di Napoli, but back in the 1st century AD, adorned the wall of a triclinium in the House of Love Punished in Pompeii.
The fresco’s narrative unfolds amidst the timeless strokes of fine ancient artistry. Peithò, (Persuasion Personified), leads Eros to his mother Aphrodite, terribly crossed with him, for an impending punishment. Eros used his arrows to kindle Ares’s passion for another woman, and Aphrodite is unwilling to forgive such mischief. Peithò, Persuasion personified, affectionately holds Eros’s hand, who bearing the weight of his misdeed, seems like crying, hesitant to proceed. Aphrodite, seated regally upon a rugged perch, emanates an aura of solemnity. She holds Eros’s bow and cuirass and looks at him sadly, but firmly. Anteros, the younger sibling of Eros, lurks behind her, poised to witness the unfolding consequence with a mixture of anticipation and childish delight. This tableau, frozen in time, capturing the intricate interplay of familial bonds, divine intervention, and the immutable consequences of love’s transgressions, delights me!
In exploring this scene, I cannot overlook the intriguing presence of God Eros and his younger brother Anteros within the same composition. The relationship between Eros and Anteros, symbolizing the two counterparts of reciprocal love, finds its vivid portrayal in a fanciful myth recounted by the fourth-century rhetorician Themistius. Through Themistius’s narrative, we glimpse into the depths of brotherly affection and the profound consequences it entails…
When Aphrodite gave birth to Eros, the child was beautiful and befitted hismother in any respect but one: he did not grow to a size appropriate to hisbeauty… The baby’s mother and the Graces, his nurses, did not know what to dowhen confronted with this situation. They went to Themis… and asked her to findsome means by which they might be delivered from their strange and astonishingmisfortune. Themis said: “I shall put an end to your predicament. The problem isthat you do not yet know the true nature of the baby. Eros, your genuine offspring,may perhaps have been born alone but he cannot grow up in any part of the body:you need Anteros if you want Eros to grow. These brothers will have the samenature; each will be responsible for the other’s growth. For when they see eachother, they will both shoot up equally; but if one of them is deprived of the other,they will both shrink in size.” And so Aphrodite conceived Anteros, and Erosimmediately had a spurt of growth and sprouted wings and was tall. Since this isEros’s fortune, he often endures strange transformations, now sprouting up, nowshrinking, then growing again. He always needs his brother’s presence. If he seesthat his brother is of sizable stature, he is eager to appear bigger himself; but heoften shrinks in size, against his own will, once he has discovered that his brotheris shrunken and small.
…And ready-witted Prometheus he bound with inextricable bonds, cruel chains, and drove a shaft through his middle, and set on him a long-winged eagle, which used to eat his immortal liver; but by night the liver grew [525] as much again everyway as the long-winged bird devoured in the whole day. That bird Heracles, the valiant son of shapely-ankled Alcmene, slew; and delivered the son of Iapetus from the cruel plague, and released him from his affliction—not without the will of Olympian Zeus who reigns on high, [530] that the glory of Heracles the Theban-born might be yet greater than it was before over the plenteous earth… If Hesiod’s words laid the foundation and introduced the Myth of Prometheus to his readers back in the 7th century BC, The Prometheus Triptych by Oskar Kokoschka brought the tale into the modern era, creating a forceful and compelling resonance! https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0130%3Acard%3D507
Oscar Kokoschka’s 1950 Triptych, a profound exploration of the human condition through his distinctive expressionist style, was commissioned by the Anglo-Austrian art collector Count Antoine Seilern. The masterpiece was intended to adorn the entrance hall ceiling of Seilern’s London house in South Kensington, and Kokoschka, working diligently, dedicated over six months to its creation. In a reflective note on July 15, the artist expressed the significance of completing the monumental work, stating… I put the last brush-stroke (I feel like saying axe-stroke) to my ceiling painting yesterday… This is perhaps my last big painting, and perhaps it’s my best… Count Seilern later bequeathed the Prometheus Triptych, along with his remarkable collection of old master paintings and drawings, to The Courtauld in 1978. https://courtauld.ac.uk/whats-on/oskar-kokoschka-the-myth-of-prometheus/
This monumental triptych reflects Kokoschka’s profound engagement with the existential and psychological dimensions of his subjects. The three panels, Hades and Persephone, The Apocalypse and Prometheus, unfold a visual narrative that is both intimate and universal, capturing the complexities of human relationships, emotions, and the existential journey. Painted after the painful years of the Second World War and during the beginning of the Cold War era, Kokoschka’s Triptych serves as a cautionary tale against human intellectual arrogance, embodied by Prometheus on the right, whose audacious act of stealing fire to empower humanity led to his eternal punishment by Zeus. The central panel depicts a vivid scene from St John’s Apocalypse with the four horsemen heralding the Last Judgment. On the left, a tale of regeneration unfolds as Persephone escapes Hades, portrayed as Kokoschka himself, with assistance from her mother Demeter, standing between them.
Painted on an epic scale, The Prometheus Triptych is, according to the Courtauld experts, one of Kokoschka’s most ambitious compositions… and intended to be a demonstration of the possibilities of figurative painting. Figures contort and intertwine, conveying a sense of tumultuous upheaval and spiritual crisis. The artist’s use of symbolism and distorted forms adds an otherworldly dimension to the composition, inviting viewers to grapple with the profound and unsettling aspects of the human experience. Prometheus Triptych stands as a testament to Kokoschka’s ability to infuse his work with profound emotion and existential inquiry, providing a gripping interpretation of a timeless and weighty theme. https://courtauld.ac.uk/whats-on/oskar-kokoschka-the-myth-of-prometheus/
The artist’s use of bold brushstrokes, intense colours, and dynamic compositions infuses the Triptych with a visceral energy, inviting viewers to delve into the depths of the artist’s emotional and intellectual exploration. Through this commissioned work, Kokoschka not only pays homage to the tradition of the triptych but also showcases his continued commitment to pushing artistic boundaries and expressing the human experience in a profoundly evocative manner.
For a Student Activity inspired by The Prometheus Triptych by Oskar Kokoschka, please… Check HERE!
I hear the song of the nightingale. / The sun is warm, the wind is mild, willows are green along the shore, / Here no bull can hide! / What artist can draw that massive head, those majestic horns?… Just as Kakuan Shien’s poem Perceiving the Bull invites contemplation of the bull’s majestic presence and the challenge of capturing its essence, Rosa Bonheur’s painting Le Taureau Gris similarly commands attention with its mastery of detail and emotive power. The poem’s imagery of nature’s beauty and the formidable figure of the bull resonates with Bonheur’s own admiration for the natural world and her groundbreaking portrayal of animals. In Le Taureau Gris, Bonheur’s brushstrokes breathe life into the subject, inviting viewers to perceive not just the physical form but also the spirit and vitality within. https://towardtheone.org/the-oxherding-poems-by-kakuan/
Rosa Bonheur’s journey to artistic success was shaped by the nurturing guidance of her progressive father, Oscar-Raymond Bonheur, whose teachings instilled in her a fervent belief in gender equality. As the oldest of four siblings, born to a pianist mother, Sophie Bonheur, Rosa’s childhood was marked by her mother’s innovative approach to education. Recognizing Rosa’s reluctance toward traditional studies and her passion for drawing, Sophie ingeniously incorporated art into her daughter’s learning, sparking a lifelong fascination with animals and fostering a unique bond between mother and daughter. Rosa’s upbringing not only laid the foundation for her artistic talents but also ignited her unwavering dedication to championing the independence and equality of women throughout her life.
At the age of 13, Rosa Bonheur’s formal education took a decisive turn when her spirited demeanour clashed with the expectations of Mme. Gilbert’s boarding school. Rejected for her tomboyish ways, Rosa found solace and opportunity under the guidance of her father, Oscar-Raymond Bonheur. Under his tutelage, she embarked on a diverse artistic journey, honing her skills through meticulous pencil drawings and still-life paintings before delving into the vibrant world of landscapes, animals, and birds. Despite facing setbacks, Rosa’s determination led her to the prestigious halls of the Louvre at just 14 years old, marking the beginning of her remarkable ascent in the art world.
Defying societal norms to pursue her passion for art, Rosa Bonheur gained international acclaim for her remarkable depictions of animals, particularly livestock and equine subjects. Her meticulous attention to detail and mastery of realism captured the essence of her subjects with unparalleled precision and empathy. Bonheur’s groundbreaking achievements not only reshaped perceptions of gender roles in the art world but also left an indelible mark on the trajectory of animal painting, solidifying her legacy as one of the most influential artists of her time.
Rosa Bonheur’s painting Le Taureau Gris, auctioned at Christie’s in 2023, embodies a captivating aesthetic that charms viewers with its powerful realism and emotional depth. In this depiction, the bull emerges as a regal figure, his fiery gaze and flared nostrils imbuing him with an aura of commanding presence. With his tail proudly arcing above his robust frame, he epitomizes the Bazadaise breed, known affectionately as the “gris de Bazas,” hailing from the verdant lands of Gironde. These formidable creatures stand as monumental symbols of strength and resilience in the pastoral landscapes they call home.
Le Taureau Gris showcases Bonheur’s unparalleled skill in capturing the essence of her subject matter, depicting a majestic grey bull with remarkable precision and detail. The painting’s composition is striking, with the bull positioned prominently within the frame, its muscular form exuding a sense of strength and vitality. Bonheur’s use of colour is subtle yet evocative, with muted tones and delicate shading lending a sense of depth and texture to the scene. The artist’s attention to detail is evident in every brushstroke, from the intricate rendering of the bull’s fur to the subtle play of light and shadow across its body. Through Le Taureau Gris, Bonheur invites viewers into a world where the beauty and majesty of the animal kingdom are brought to life with extraordinary skill and sensitivity, making it a truly timeless work of art.
For a PowerPoint, presenting 10 Masterpieces by Rosa Bonheur, please… Check HERE!
The House of the Bicentenaryin Herculaneum is one of the site’s jewels. Back in the 1930s, archaeologist Amedeo Maiuri described it as a sumptuous noble house of elegant proportions. It is one of Herculaneum’s largest townhouses, as would be expected for a property with such a prominent location on the main street of the town, close to the theatre, the law courts, and the forum. The stately 1st-century BC house was built on two storeys and its façade was decorated with a brightly coloured green-and-red chequerboard pattern, with a balcony looking over the street. Inside, a large atrium with a central marble pool led to an elegant room for receiving guests. Both were covered with lavish mosaic pavements and wall paintings, all indicating that this was a noble house that belonged at some point to prosperous owners…https://minervamagazine.com/grand-designs-at-herculaneum.html
The House of the Bicentenary was unearthed under the direction of archaeologist Amedeo Maiuri, in 1938, amidst the bicentennial celebrations of the excavations at Herculaneum. Concurrently, efforts were made to stabilize, restore, and exhibit the site, with artefacts showcased in the atrium’s left hall and a preserved wood screen displayed in the right hall. By 1983, however, the house faced severe deterioration, worsened by exposure to the elements and heavy tourist traffic. Structural instability, deteriorating wall paintings, crumbling tuffa walls, flaking paint layers, and lifting mosaics plagued the once-grand villa, necessitating urgent restoration efforts.
In a decisive move, the House underwent closure to visitors, heralding a transformative period in 2011. A collaborative effort ensued, with the participation of the Getty Conservation Institute (GCI), the Archaeological Park of Herculaneum, and the Herculaneum Conservation Project, united in a mission to comprehensively research, analyze, document, and stabilize the edifice’s architectural framework, wall surfaces, frescoes, and mosaic pavements. Particular focus was directed towards the restoration of the remarkable Tablinum area. The outcome of this concerted effort has been nothing short of remarkable. Such was the extent of the achievement that Domenico Camardo, the chief archaeologist at the Herculaneum Conservation Project, expressed the endeavour as not only a pivotal moment in the house’s preservation but also an opportunity for pioneering advancements in conservation methodologies and materials, with implications reaching far beyond the site itself. https://www.thehistoryblog.com/archives/56824
An Overview of the House of the Bicentenary…
Nestled along Herculaneum’s bustling main thoroughfare, the city’s Decumanus Maximus, the Bicentenary House once hosted Gaius Petronius Stephanus and his wife Calantonia Themis within its exquisite confines. Renowned as one of the city’s most opulent residences, sprawling across over 600 square meters and boasting an upper floor, its halls were adorned with meticulously preserved mosaic floors and frescoes breathing life into mythological narratives and intricate architectural and animal motifs. Particularly noteworthy is the Tablinum (Room 10 on the Plan), adorned with a collection of 4th Pompeian Style paintings renowned for their beauty and craftsmanship, offering visitors a glimpse into the peak of artistic expression within the site.
The decoration of the Tablinum is superb. The room’s ensemble of wall paintings exhibits artistic and archaeological importance portraying mythological scenes, cupids in a variety of activities, and portraits of Dionysiac figures of the utmost elegance and sophistication. Finally, the unique mosaic pavement in opus sectile and opus tessellatum, creates a unique mosaic floor, blending opulent reds, yellows, and blacks in a sophisticated scheme.
According to Amedeo Maiuri… The tablinum preserves a rich, sparkling marble pavement, like a polychrome carpet, and on the walls, paintings, medallions, and a frieze; in the panels are represented the myths of Daedalus and Pasiphae and of Venus and Mars; in the medallions are busts of Satyrs, Sileni and Maenads. On the upper part of the walls runs a frieze with cupids. From the tablinum, we reach the little portico with the garden and the rustic rooms on the ground floor.https://herculaneum.uk/Ins%205/Herculaneum%205%2015%20p3.htm
For a PowerPoint on the House of the Bicentenary, please… Check HERE!
Maid of Athens, ere we part, / Give, oh give me back my heart! / Or, since that has left my breast, / Keep it now, and take the rest! / Hear my vow before I go, / Ζωή μου, σᾶς ἀγαπῶ. / By those tresses unconfined, / Wood by each Ægean wind; / By those lids whose jetty fringe / Kiss thy soft cheeks’ blooming tinge; / By those wild eyes like the roe, / Ζωή μου, σᾶς ἀγαπῶ. / By that lip I long to taste; / By that zone encircled waist; / By all the token-flowers that tell / What words can never speak so well; / By love’s alternate joy and woe. / Ζωή μου, σᾶς ἀγαπῶ. / Maid of Athens! I am gone: / Think of me, sweet! when alone. / Though I fly to Istambol, / Athens holds my heart and soul: / Can I cease to love thee? No! / Ζωή μου, σᾶς ἀγαπῶ. (Zoë mou, sas agapo – My Life, I love you)… wrote Lord Byron in 1810 while visiting Athens… https://allpoetry.com/Maid-Of-Athens,-Ere-We-Part
Lord Byron, the famous British poet, visited Greece in 1809-1810 as part of his Grand Tour of Europe and the Near East. He was motivated by a desire to explore the classical world and to see the ruins of antiquity. He was also interested in the politics of the region and was particularly intrigued by the ongoing struggles of the Greek people against Ottoman rule. Byron became a strong advocate of the Greek Struggle for Independence, donating money and resources to support the cause. His actions helped to raise awareness of the Greek cause and inspired other Europeans to support Greek independence as well. He is remembered as one of the most prominent philhellenes of the 19th century, the man whose influence on British public opinion helped the recognition of Greek independence by the British government.
Fascinated by the ancient Greek culture and history, Byron spent during 1810, several months in Athens, immersing himself in the local culture. Athens had a profound impact on his poetry, particularly in the creation of his epic poem Childe Harold’s Pilgrimage, which was published in 1812 and became a literary sensation. The poem is a reflection on the ruins of ancient Greece and the contemporary state of the country, which was still under Ottoman rule. Greece inspired him to write several other poems, such as The Curse of Minerva, The Isles of Greece,and The Siege of Corinth, all of which reflect his admiration for ancient Greece and its culture.
The Maid ofAthens is a poem by Lord Byron, published in 1810. It is a tribute to a Greek girl named Teresa Makri, whom the poet met during his first, 1810, stay in Athens. The poem expresses the speaker’s admiration for Teresa’s beauty and spirit, and his regret at not being able to spend more time with her. The poem is known for its romantic and exotic imagery and its evocation of the beauty and mystery of Greece.
In 1860, Theodoros Vryzakis, a 19th-century Greek painter, known for his historical and patriotic canvases depicting scenes from the Greek War of Independence, painted The Maid ofAthens, inspired by Byron’s famous poem.
According to the National Gallery of Greece citation… After his father was hanged by the Turks in 1821, Theodoros Vryzakis and his brother Euthymios were sent to the Capodistrias Orphanage on Aegina. In 1832, probably with the help of Ludwig Thiersch, a progressive educator in the Court of King Otto of Greece, he went to Munich where he studied at the Panhellenion, the Greek school founded by Ludwig I for the orphans of the veterans of the Greek War of Independence. In 1844, he was accepted by the Munich Academy of Fine Arts, and until 1855 continued on a scholarship financed by the Greek community in Munich. https://www.nationalgallery.gr/en/artist/vryzakis-theodoros/
From 1848 to 1851, still financed by the Greek community in Munich, Vryzakis returned to Greece for an extended visit. He aimed to study the landscape and the people of Greece so he could accurately depict them in his history paintings. Could the Maid of Athens be the result of such a study? I wish I could accurately say Yes or No!
Vryzakis’s painting of the Maid of Athens, a tribute to the famous Philhellene, Lord Byron, is characteristically executed in the artist’s classical romantic spirit. His style, clearly influenced by Neoclassicism, idealizes the girl’s features, emphasizing her dark hair and eyes. If the Maid of Athens is indeed Theresa Macri, the eldest daughter of Theodora Macri, the widow of a former English vice-consul, she is depicted as described by the artist, Hugh W. Williams, who visited Athens in May 1817… Theresa, the Maid of Athens, …has black, or dark hair and eyes; her visage is oval, and her complexion somewhat pale, with teeth of pearly whiteness. Her cheeks are rounded, her nose straight, rather inclined to aquiline. Her countenance, except when the conversation has something of mirth in it, may be said to be rather pensive. She is elegant, and her manners pleasing and lady-like, such as would be fascinating in any country… https://genius.com/Lord-byron-maid-of-athens-ere-we-part-annotated – Travels in Italy, Greece, etc., ii. 291, 292.
Celebrating the Greek Revolution of 1821 and remembering… people and events!
Anonymous Apulian Vase Painter, commonly called the Darius Painter, worked between 340 and 320 BC Darius Vase, 340-320 BC, Ceramic Red-Figure Volute Crater, Clay, Height: 1.15 m, Archaeological Museum of Naples, Italy – Photo Credit: Amalia Spiliakou, February 18, 2024, ‘Meanings’. Personifications and Allegories from Antiquity to Today Exhibition, Acropolis Museum, Athens, Greece
On February 17, 2024, during my visit to Athens, Greece, I had the pleasure of attending an exceptional exhibition titled ‘NοΗΜΑΤΑ’: Personifications and Allegories from Antiquity to Today, held at the Acropolis Museum. Curated by Professor Nikolaos Chr. Stampolidis and his associates, this exhibition forms a unique Tetralogy, wherein the Greek word ‘ΝΟΗΜΑ’ (‘Meaning’ in English) metaphorically transforms into a ‘ΝΗΜΑ’ (a ‘Thread’), weaving together diverse artworks including statues, reliefs, vases, coins, jewelry, Byzantine icons, and paintings. It marks a groundbreaking moment by uniting antiquity with Byzantium, Renaissance, and Modern Art for the first time. Among the Exhibition artworks that impressed me most was Darius Vase, a large Apulian Volute Krater from the Museo Archaeologico Nazionale di Napoli!
The Darius Vase is one such example of Apulian pottery. It dates back to the late 4th century BC, 330 to 300 BC to be specific. It was created by the so-called Darius Painter in Magna Graecia, standing as a testament to the mastery of Greek pottery during this period. This amazing Volute Krater, measuring approximately 1.15 meters in height and 1.93 meters in circumference, features intricate red-figure decoration with additional white and red paint. Its provenance traces back to the city of Taranto (ancient city of Taras), an area known for its production of fine ceramics. With its distinctive style and historical subject matter, the Darius Vase remains a vital piece for understanding both Greek artistry and the cultural exchanges between Greece and Magna Graecia during antiquity. The Darius Vase was discovered in 1851 near Canosa di Puglia and is now on display at the Museo Archaeologico Nazionale, in Naples.
Standing as a testament to the artistic finesse of ancient Greek Apulian pottery, the vase features a rich and complex iconography divided into four main zones or registers:
Top Register (Neck): The iconography of the Neck of the Darius Vase is subject to diverse interpretations. While some scholars argue that the combat scene depicted signifies the conflicts between Alexander the Great and Darius III, others propose that the scene may represent an earlier battle between Greeks and Persians or even an incident related to the Amazonomachy. Thus, the iconography of the Neck of the Darius Vase invites exploration into both historical narratives and mythological symbolism, providing a rich tapestry of cultural significance.
Anonymous Apulian Vase Painter, commonly called the Darius Painter, worked between 340 and 320 BC Darius Vase (Detail with Hellas, Zeus and Athena), 340-320 BC, Ceramic Red-Figure Volute Crater, Clay, Height: 1.15 m, Archaeological Museum of Naples, Italy https://twitter.com/greece_heritage/status/1688905660803805184
The Second Register (from the top): A procession of Greek deities adds depth to the iconography, rich symbolism and mythological significance, as it portrays a visual narrative that intertwines Persian and Greek cultures. Artemis, the huntress, is depicted riding a stag, symbolizing her connection to the wilderness and fertility. Seated beside her is Apollo, God of light and music, cradling a swan, representing his multifaceted domains. Zeus, the king of the gods, is presented sitting in the middle, with a sceptre in his hand, the thunderbolt beside him and a winged Victory in front of him. He turns towards a woman who, as the inscription above her head states, is Hellas personified, accompanied by Athena, goddess of wisdom and warfare, fully armoured, ready for battle. Apate, the goddess of deceit, holds aloft two torches, perhaps suggesting the duality of truth and deception. Lastly, Asia, personified as a seated figure on an altar, is depicted in front of a Hermaic Stele. The arrangement of these figures on the vase not only showcases the artistic prowess of the era but also reflects the intricate interplay between Greek and Persian mythologies, offering insights into the complexities of ancient cultural exchange.
Anonymous Apulian Vase Painter, commonly called the Darius Painter, worked between 340 and 320 BC Darius Vase (Detail with Darius and the Messenger), 340-320 BC, Ceramic Red-Figure Volute Crater, Clay, Height: 1.15 m, Archaeological Museum of Naples, Italy https://en.wikipedia.org/wiki/Darius_Vase
The Third Register: The protagonist of the third register, is Darius, the King of Persia. He is depicted in the center of the composition, seated on a luxurious throne with a footstool, holding a scepter in his right hand and a sword in his left hand, and is identified, like other figures, by an inscription. Standing before him, on a two-tiered circular plinth that bears the inscription PERSAI, is a bearded man, arm raised with three fingers extended, clearly delivering a message to the monarch. The messenger’s countenance betrays the gravity of his news, suggesting its unwelcome nature. The remaining figures represent members of Darius’s entourage, his bodyguard for example, and his officials, Greek and Persians alike.
Anonymous Apulian Vase Painter, commonly called the Darius Painter, worked between 340 and 320 BC Darius Vase (Tax Collecting scene), 340-320 BC, Ceramic Red-Figure Volute Crater, Clay, Height: 1.15 m, Archaeological Museum of Naples, Italy https://en.wikipedia.org/wiki/Darius_Vase
The Bottom Fourth Register: In the Bottom Register, a robed, bearded man takes center stage, seated before a table. In his left hand, he holds a diptych tablet inscribed with numbers, indicating his role in calculation. Ψῆφοι, that is white stones utilized by ancient mathematicians for arithmetic, are scattered across the table, emphasizing his pursuits. Flanking him, two ‘Persians’ approach, one bearing a bag of currency, the other presenting golden vessels, symbolic of their tribute. Meanwhile, additional ‘Persians’ kneel in deference, extending their hands in a gesture of submission. The scene vividly illustrates the dynamics of taxation and submission, with the Greek figure diligently calculating and recording the total, while the ‘Persians’ acknowledge their obligation to pay taxes and recognize Greek authority.
Is the composition of the Darius Vase inspired by an ancient Greek theatrical Drama? One interpretation suggests that the depicted events on the Darius Vase likely correspond to Alexander the Great’s campaign in Persia. Therefore, it is inferred that the Persian king portrayed on the vase is Darius III, depicted listening to the news of the defeat of the Persian army, as conveyed by a messenger after the battle of Granicus in 334 BC. Following this battle, Alexander asserted his dominance over Asia Minor up to the Taurus Mountains. Consequently, many regions either submitted willingly or were compelled to acknowledge Alexander’s authority, leading to the imposition of tribute and the consequent enrichment of his treasury.
The iconography of the Darius Vase, like many other Apulian vases, is a treasury of symbolism and storytelling, offering profound insights into ancient Greek mythology, history, and culture through its intricate imagery and narrative compositions. It appears that the news of Alexander’s initial triumph over Darius swiftly spread across Greece, igniting fervor, and inspiring the creation of masterpieces, in the visual as well as the performing arts, that captivated audiences from Greece to Lower Italy.
Could it be that the Darius Vase itself is a product of this inspirational fervour? Crafted by one of Taranto’s most esteemed vase painters, it stands as a potential testament to the enduring influence of Alexander’s victory on the artistic landscape of Magna Graecia. As we marvel at its intricate details and ponder its narrative significance, we’re drawn into a world where history, myth, and art intertwine, inviting us to contemplate the profound impact of past events on the creative expressions of ancient civilizations.
For a PowerPoint Presentation on Apulian Pottery, please… Check HERE!
Limbourg Brothers, Herman, Jean, Paul, c. 1370-80-1416 Très Riches Heures du Duc de Berry, Anatomical Man/Zodiac Man (folio 14v), 1413-16, Painting on Vellum, 30×21 cm, Museum Conde, Chantilly, France https://commons.wikimedia.org/wiki/File:Anatomical_Man.jpg
The Limbourg Brothers were a trio of Dutch Renaissance painters: Herman, Paul, and Johan Limbourg from Nijmegen. They are most famous for their work on the illuminated manuscript Les Très Riches Heures du Duc de Berry (The Very Rich Hours of the Duke of Berry), which they created in the early 15th century. This manuscript is considered one of the masterpieces of French International Gothic Art. The brothers were known for their meticulous attention to detail and their ability to capture the richness of color and texture in their work. Unfortunately, their careers were cut short when they died at a young age, possibly due to the bubonic plague. Despite their short lives, their contributions to art and illumination continue to be celebrated and studied today.
Les Très Riches Heures du Duc de Berry is an exquisite, illuminated manuscript that stands as a masterpiece of artistry and cultural heritage. Commissioned by Jean de Valois (1340-1416), Duc de Berry, in the early 15th century, between c. 1412 and 1416, this lavishly decorated Book of Hours captures the essence of the era’s religious devotion, aristocratic splendor, and the beauty of the natural world. Created by the Limbourg brothers, but never completed, it showcases their unparalleled skill in miniature painting, with each page a vibrant tapestry of intricate details and vivid colors. Beyond its artistic magnificence, the manuscript serves as a window into the opulent lifestyle and spiritual fervor of the medieval French court, making it a treasured relic of both artistic and historical significance.
An anonymous painter, widely speculated by art historians to be Barthélemy d’Eyck, undertook further embellishments for the unfinished manuscript in the 1440s. Subsequently, between 1485 and 1489, the manuscript underwent significant modifications by the painter Jean Colombe, acting on behalf of the Duke of Savoy, ultimately achieving its present state. Following its acquisition by the Duc d’Aumale in 1856, the book now resides as MS 65 in the Musée Condé, located in Chantilly, France.
This amazing manuscript is a collection of prayers to be said at the canonical hours. It contains a rich assortment of religious texts, prayers, and beautifully illustrated scenes depicting the liturgical calendar and the life of Christ. Its pages feature elaborate depictions of saints, biblical events, the months of the year, and scenes from everyday life, meticulously crafted with intricate details and vibrant colors. Additionally, the manuscript includes annotations, psalms, and devotional readings tailored for personal prayer and reflection. Beyond its religious content, the manuscript also offers glimpses into the aristocratic life, and the life of the peasants, of the time, with illustrations of courtly gatherings, hunting scenes, idyllic landscapes, and peasant chords. Each page is a testament to the skill of the Limbourg brothers and their mastery of the art of illumination, making it a captivating blend of religious devotion, artistic excellence, and historical insight.
Folio 14v, the manuscript’s page presenting the Anatomical or Zodiac Man, is a rare motif in medieval art, an elusive miniature, a unique iconography, and a riddle for all scholars involved in interpreting its meaning. Folio 14v is my personal favourite!
Against a backdrop of magnificent blue skies adorned with golden clouds, two naked men stand back-to-back at the center of the mandola-shaped composition. Within the body frame of the human figure facing the viewer, the manuscript artists present the twelve Signs of the Zodiac. Each Sign, meticulously arranged and governing a specific part of the body, is steeped in the medieval belief— a Hellenistic inheritance, to be precise— in astrological medicine. This belief posited that the movements of celestial bodies influenced health and bodily functions. The second figure, as presented by the Limbourgs, is the most enigmatic aspect of the composition. Seen from the back in a mirror-like reflection, this figure starkly contrasts with the first. Not adorned with Zodiacal Signs, he possesses auburn hair, and his arms are positioned differently. Together, they remain open to interpretation, lacking a definitive explanation.
The Anatomical or Zodiac Man is framed by three mandola-shaped bands. The outermost band corresponds to the 360 degrees of the circle of heavens, scaled and sub-divided into twelve thirty-degree sectors, each corresponding to one zodiacal constellation. The inner band marks the days of each month for the entire year. The calibrations are precisely synchronized so that each month spans the interval from the exact mid-point of one sign to that of its successor. https://www.jstor.org/stable/750460?read-now=1&seq=4#page_scan_tab_contents Harry Bober The Zodiacal Miniature of the Très Riches Heures of the Duke of Berry: Its Sources and Meaning Journal of the Warburg and Courtauld Institutes, Vol. 11 (1948), pp. 1-34 (45 pages)
Within the outer bands, which are narrow in size, the Limbourg brothers positioned a wider band, beautifully adorned in green, blue, and gold, where a second set of the twelve Zodiac Signs is shown. Meticulously rendered, each Sign highlights the Limbourg brothers’ mastery of detail and design. The mandola shape of the band is further accentuated by the incorporation of the Zodiac Signs within similarly mandola-shaped designs. Together, they enrich the folio’s aesthetic appeal, contributing to a harmonious visual balance that complements the central figure’s anatomical depiction. Through this carefully crafted frame, the manuscript not only presents scientific knowledge but also elevates it to an aesthetic realm, inviting viewers to explore the interconnectedness of earthly and celestial phenomena.
In a captivating display of detail, the illumination’s apexes are adorned with the heraldic symbols representing the Duke of Berry, lending an air of regal splendor to the manuscript’s margins. Positioned alongside these symbols are four Latin inscriptions, each describing the characteristics attributed to the Zodiac Signs based on their complexions, temperaments, and cardinal points. In the upper left, Aries, Leo, and Sagittarius are depicted as fervently warm and dry, imbued with the fiery essence of the choleric temperament, and bearing the masculine energy of the East. Meanwhile, the upper right unveils Taurus, Virgo, and Capricorn, enveloped in a cold and dry temperament, steeped in melancholy, and embracing the feminine allure of the Western realm. Descending to the lower left quadrant, Gemini, Aquarius, and Libra emerge with a vibrant warmth and humidity, embodying the sanguine spirit, and exuding the masculine vigor of the Southern domain. Finally, the lower right quadrant unveils Cancer, Scorpio, and Pisces, cloaked in a chilly dampness, embodying the phlegmatic essence, and emanating the tranquil femininity of the Northern expanse. This interplay of symbolism and description not only enriches the visual tapestry but also invites contemplation on the interconnectedness of celestial forces and human attributes.
The depiction of the Anatomical or Zodiac Man in the Limbourg brothers’ manuscript Les Très Riches Heures du Duc de Berry exudes a captivating aesthetic that seamlessly intertwines scientific inquiry with artistic mastery. Positioned within the intricate framework of medieval illumination, the figure emerges as a harmonious blend of anatomical precision and symbolic richness. Each rendered detail, from the delicate lines delineating the body’s proportions to the illustrated Zodiac Signs, invites contemplation and admiration. The vibrant hues of the illuminations, delicately applied gold leaf, and intricate patterns that adorn the margins further enhance the visual allure, drawing the viewer into a mesmerizing exploration of the human form and its cosmic connections. This fusion of artistic technique and intellectual curiosity epitomizes the manuscript’s exquisite aesthetic, offering a window into both the scientific knowledge and artistic sensibilities of the era.
For a PowerPoint Presentation on the Limbourg Brothers, please… Check HERE!
Marc Chagall, from Belarus, 1887-1985 The ceiling of the Opéra Garnier, started in 1963 and completed on the 23rd of September, 1964, nearly 240 m² canvas, Opera Garnier, Paris, France – Photo Credit: Amalia Spiliakou, May 8, 2023
Russian-born artist Marc Chagall once said that “the dignity of the artist lies in his duty of keeping awake the sense of wonder in the world.” And it is difficult to conceal one’s wonder beneath Chagall’s magnificent ceiling at the Opéra Garnier, a masterwork that was unveiled in 1964… This is exactly how I felt on the 8th of May, 2023, attending the Dante Project by Wayne McGregor… WONDER! https://www.architecturaldigest.com/story/marc-chagall-opera-ceiling
Today’s goal is to highlight the artistic significance of the Opera Garnier’s painted Dome, featuring the breathtaking work of renowned painter Marc Chagall.
Chagall’s work at the Opera Garnier in Paris stands as a captivating testament to artistic innovation within the confines of historical grandeur. The vivid colors and imaginative forms of Chagall’s masterpiece create a striking juxtaposition against the backdrop of the Belle Epoque building. As one gazes upon the ornate details and classical elegance of the Opera House, the unexpected burst of modernity and expression on the dome becomes a mesmerizing focal point. This dynamic interplay between tradition and avant-garde artistry enhances the overall aesthetic experience, inviting viewers to appreciate the harmonious coexistence of two distinct yet complementary artistic worlds within the iconic Parisian landmark.
Marc Chagall’s involvement in painting the dome of the Opera Garnier in Paris is a fascinating chapter in the history of both art and architecture. In 1963, French Minister of Culture André Malraux proposed the idea of commissioning a contemporary artist to contribute to the decoration of the historic building. Chagall, renowned for his dreamlike and symbolic works, was chosen for this ambitious project, hoping for this commission to mark a departure from the conventional approach of adorning opera houses with historical or mythological themes. The artist embraced the opportunity to infuse the space with his distinctive blend of colors and imaginative compositions. He embarked on the task with great enthusiasm, creating a 560-square-meter masterpiece that would become one of his largest and most celebrated works.
Completed in 1964, Chagall’s painted dome is a visual feast, featuring a rich tapestry of scenes and characters from famous operas. The vibrant hues and dynamic forms evoke a sense of lyricism and movement, encapsulating the essence of the performing arts.
The theme behind Marc Chagall’s painting of the dome of the Opera Garnier is a celebration of the world of music, dance, and the performing arts. Chagall’s approach to the commission was to create a vibrant and whimsical visual narrative that captured the spirit of opera and ballet. The dome serves as a vast canvas for Chagall’s imaginative interpretation of the cultural and emotional resonance found in the world of performing arts, featuring a kaleidoscope of colors, floating figures, and symbolic elements drawn from various operas. Dancers, musicians, and mythical creatures come together in a dreamlike composition, conveying a sense of lyricism and movement. The artist skillfully weaves together scenes and characters from famous operas, creating a harmonious and dynamic tapestry that reflects the magic and drama of the performing arts.
Chagall’s dome at the Opera Garnier received mixed reactions initially, with some critics appreciating the modern approach and others expressing reservations about its departure from tradition. However, over time, the masterpiece has come to be recognized as a pivotal work in the intersection of contemporary art and historic architecture. Today, Chagall’s contribution to the Opera Garnier stands as a testament to the enduring power of artistic expression and the willingness to embrace innovation within venerable cultural institutions. The painted dome continues to enchant visitors, offering a unique and immersive experience that transcends the boundaries of time and tradition.
On Marc Chagall: The artist of the Opera’s dome, Marc Chagall, was of Russian-French origin, known for his unique blend of fantasy, symbolism, and elements of folk art. He was associated with several art movements, including Cubism and Surrealism, but his work defied easy categorization. Chagall’s art often featured dreamlike and poetic scenes, filled with vibrant colors and floating figures. He painted a variety of subjects, including village life, biblical themes, and memories of his hometown Vitebsk. Marc Chagall’s contributions to the art world have left a lasting impact, and he is considered one of the most significant artists of the 20th century.
On the Opera Garnier: Officially known as the Palais Garnier, this is an architectural masterpiece and a cultural icon located in the heart of Paris, France. Designed by Charles Garnier and inaugurated in 1875, the opera house is a splendid example of Beaux-Arts architecture, characterized by its opulent ornamentation, grandiosity, and meticulous attention to detail. The exterior is adorned with sculptures, columns, and a grand staircase, while the interior boasts a lavish auditorium with a stunning chandelier, intricate frescoes, and a ceiling painted by Marc Chagall in the 1960s. The Opera Garnier has been a focal point for Parisian cultural life, hosting a myriad of operas, ballets, and other performances. Its rich history, architectural beauty, and artistic significance make it a symbol of Paris’s enduring cultural legacy.
The painting by Gentile Bellini depicting Cardinal Bessarion in prayer before his Byzantine Reliquary, accompanied by two Members of the Scuola della Carità, housed in the National Gallery in London, captivates my fascination. Bellini’s masterpiece not only offers a tangible link to the historical context it portrays but also illuminates the cultural milieu of its time. Functioning as both an artistic treasure and a captivating historical document, this work by Bellini is a testament to the rich tapestry of the past. https://www.nationalgallery.org.uk/paintings/gentile-bellini-cardinal-bessarion-with-the-bessarion-reliquary
Born Basilios Bessarion in 1403 in Trebizond, on the Black Sea, Bessarion emerged as a distinguished Humanist and a significant figure of the Renaissance. Initially devoted to a monastic life within the Eastern Orthodox Church, his trajectory took a pivotal turn during the Council of Ferrara-Florence. Here, he fervently advocated for the union of the Eastern and Western Churches, leading to his relocation to Italy. Immersing himself in the Renaissance’s revival of classical learning, Bessarion’s scholarly contributions and diplomatic acumen were acknowledged by Pope Eugene IV in 1439, culminating in his appointment as a Cardinal of the Catholic Church.
Beyond his ecclesiastical responsibilities, Cardinal Bessarion carried influence as a significant Arts Patron, amassing an extensive collection of Greek and Latin manuscripts including ecclesiastical and classical texts. His library considered a beacon of erudition, played a pivotal role in disseminating Greek knowledge to Latin-speaking scholars, thus nurturing the flourishing Humanist movement. This rich repository, comprising rare manuscripts and ancient texts, reflected Bessarion’s fervent commitment to preserving and transmitting the cultural heritage of both Eastern and Western traditions. This passion left a lasting mark on the intellectual landscape of the Renaissance. On May 31, 1468, Cardinal Bessarion bestowed his precious library upon the Serenissima Republic of Venice, endowing hundreds of rare manuscripts to shape the nucleus of the renowned library of St Mark’s, the Biblioteca Marciana.
While Cardinal Bessarion is primarily celebrated for his scholarly contributions, efforts in reuniting the Eastern and Western Churches, and the establishment of his extensive library, he is also associated with a remarkable religious artifact known as Bessarion’s Reliquary or Staurotheke in Greek. This magnificent example of Late Byzantine craftsmanship, donated by Bessarion himself to the Scuola Grande della Carità in 1463, now forms part of the Collection of the Accademia in Venice. The Reliquary features a movable, gilded central Cross with origins traced back to the Byzantine princess Irene Paleologina. Encased within a wooden frame/box adorned with painted scenes depicting the Passion, intricate goldsmithing featuring blue-colored enameling, and flanked by the figures of Emperor Constantine and his mother Helena, the Cross also incorporates four chambers made of rock crystal. These chambers, situated on either side of the Cross, house the precious Relics of the True Cross and Christ’s robe.
Moving from the exploration of Cardinal Bessarion’s Reliquary to Gentile Bellini’s depiction of it, one can discern the symbiotic relationship between the historical artifact and the artist’s creative interpretation. Executed in 1972/73, precisely when Bessarion’s Reliquary made its way to Venice, Bellini was commissioned to craft a painted door panel. This panel was an integral component of a tabernacle designed to encase and safeguard the precious reliquary.
Gentile Bellini’s artistic pursuit not only captures the religious significance of the Reliquary but also breathes life into the personalities linked to its donation. The painting prominently features the generous donor, Cardinal Bessarion, portrayed in profile and modestly attired in black. Accompanying him are two distinguished members of the Scuola della Carità, adorned in their characteristic white robes. One of them is depicted holding an instrument for self-flagellation, projecting a sense of distinction and prominence. Despite the varied depictions, the central focus remains on Bessarion’s Reliquary, commanding attention in the composition. It serves as both a symbolic and visual anchor, connecting the historical artifact to the narrative brushstrokes of Bellini’s portrayal. Consequently, Bellini’s canvas emerges as a bridge between the tangible beauty of the relic and the nuanced storytelling of the individuals tied to it.
The Reliquary’s connection to Venice is beautifully narrated by Holgera A. Klein… In July 1463, ten years after the conquest of Constantinople (1453), Pope Pius II had sent Bessarion to Venice in an attempt to rekindle and promote the idea of a Crusade against the Ottoman Turks. Befitting his role as a Catholic Cardinal traveling as papal legate, the Doge and Senate went out to meet Bessarion in the lagoon on the Bucintoro, the doge’s great ceremonial barge, with chants, acclamations, and church bells resounding from all parts of the city. It was not the only honor bestowed on Bessarion in Venice, for on August 29, a few weeks after his arrival in Venice, Marco della Costa, the Guardian Grande of the Scuola della Carità, and a delegation of its most prominent members went to visit the Cardinal on the island of San Giorgio Maggiore and solemnly invited him to join their confraternity as a member. Touched by the city’s exhibit of respect, Bessarion, accepted the honor, accompanied the Scuola’s delegation back to the Rialto in festive procession, and vowed in gratitude to bestow a special gift on the Confraternity, namely his precious Stavrotheke, that previously belonged to Gregory III Melissenos, the Patriarch of Constantinople, with the sole provision that he would like to hold on to it during his lifetime.https://arthistory.columbia.edu/sites/default/files/content/faculty/pdfs/klein/Klein_estratto.pdf Cardinal Bessarion, Philippe de Mézières and the Rhetoric of Relics in late medieval Venice, by Holger A. Klein, pp. 23-26
In the spring of 1472, in Bolognia, on his way to France on yet another Papal mission, the ailing Bessarion decided to hand over the promised gift, which he had meanwhile ‘further adorned with silver, and fitted with a pole so that it could suitably be displayed in the context of pious devotion’. Three trusted men from the Cardinal’s familia were sent as couriers to hand over the precious panel, which, according to the confraternity’s reply, arrived in Venice in early June. At the request of the Venetian Senate the reliquary was first displayed on the high altar of San Marco on Trinity Sunday, and then carried in solemn procession through the city and across the Grand Canal into the Scuola della Carità accompanied by the entire populace chanting hymns…https://arthistory.columbia.edu/sites/default/files/content/faculty/pdfs/klein/Klein_estratto.pdf Cardinal Bessarion, Philippe de Mézières and the Rhetoric of Relics in late medieval Venice, by Holger A. Klein, pp. 23-26
What a magnificent story!
For a PowerPoint Presentation on Gentile Bellini’s oeuvre, please… Check HERE!
Information on the Conference ‘La Stauroteca di Bessarione: Restauro, Provenienza, Ambito Culturale tra Constantinopoli e Venezia’ (The Stauroteca of Bessarion: restoration, provenance, cultural context between Constantinople and Venice), organized by: Gallerie dell’Accademia, Istituto Hellenico, Veneto Institute of Sciences, Letters and Arts, in collaboration with the German Center of Venetian Studies, 17 – 18 October 2013 https://www.istitutoveneto.it/flex/cm/pages/ServeBLOB.php/L/IT/IDPagina/862
