The Gold Sandwich-Glass Vase at the Canellopoulos Museum in Athens is a truly rare and precious exhibit. Also referred to as Verre Églomisé, Gold Sandwich-Glass is a decorative technique with a rich history dating back to antiquity, used to craft stunning and opulent objects. The example on display at the Canellopoulos Museum stands as a unique treasure in Greece, inviting keen exploration and admiration!
Displayed at the Canellopoulos Museum in Athens, Greece, this remarkable piece is organized within a tondo, defined by concentric rings, and embellished with gold leaf in the space between the innermost pair. The composition takes on a triangular form, exhibiting simplicity, stability, and balance. Positioned at the very center of the tondo is a male figure, devoid of a beard but adorned with a luminous halo. In his lowered right hand, he clasps a palm branch, a Christian symbol of victory over death, while his left hand extends upward in a gesture of acclamation. The figure, portrayed in a strikingly naturalistic manner, stands upright and is flanked by laurel bushes on either side. The combination of brown hues and gold against a background of transparent glass creates an aethereal, and delicate composition, suitable for a religious shallow bowl (phiale).
According to Constantine Scampavias, the Canellopoulos Museum expert… Although the piece is not inscribed, the halo and the palm branch (as well as the two bushes if they are laurels) identify the figure as a Christian martyr. Perhaps it is the martyr Gereon, whose cult was widespread in the Rhineland and particularly in Cologne, where this bowl was possibly made.https://camu.gr/en/item/pythmenas-amfyalou-chrysografimenou-angeiou/
The Gold Sandwich-Glass technique was particularly popular throughout the Roman Empire during the 4th century AD. Images in this technique were etched in gold leaf and then, the leaf was fused between two layers of glass… like a sandwich! Items of Gold Glass were usually created into circular bottoms of luxurious drinking vessels since the Hellenistic period. A popular practice for the Romans of the later period, was to cut out the Gold Glass decorated roundel of a cup and cemented it to the wall of a catacomb Grave to serve as a grave marker for the small recesses where bodies were buried. In Rome, where this practice was particularly popular, archaeologists discovered over 500 pieces of Gold Glass used in this way. Decoration themes for Gold Sandwich-Glass items vary from pagan mythology and portraits to purely Jewish or Christian imagery. Chapter 13 Making Late Antique Gold Glass by Daniel Thomas Howells, pp.112-120https://webarchive.nationalarchives.gov.uk/20190801105206/https://www.britishmuseum.org/research/publications/research_publications_series.aspx#AllResearchPublications
For a PowerPoint on 10 artifacts of Gold Sandwich-Grass, please… Check HERE!
Meissen Porcelain Manufactory, active 1710 – present, Dresden, Germany Modelled by Johann Joachim Kändler, 1706 – 1775 A Turkey, 1733, white glazed hard-paste porcelain, 53.5 × 51 × 20 cm, the Getty Museum, CA, USA https://www.getty.edu/art/collection/object/108XV1
In Meissen’s porcelain menagerie, each bird or animal whispers tales of craftsmanship and elegance… In my latest BLOG POST titled Meissen Porcelain for Thanksgiving, I am excited to present the 1733 Meissen menagerie life-size model featuring the iconic Thanksgiving Bird!
Its head half-turned to its right, with incised eyes, an extended drooping comb suspended from the curved upper beak, the neck with deeply incised wrinkled skin, its overlapping short rounded body-feathers each with a raised central spine and incised spines covering its plump breast and back, its wings with long divided wing feathers falling to the ground and partially obscuring its three-clawed feet, the raised humped back terminating in its displayed fan-shaped tail with two tiers of radiating feathers, with a short forked tail below, supported on a circular rockwork base applied with moss and plants with short broad leaves… This is how Christie’s experts describe the 1733 life-size white model of a turkey-cock created at the Meissen porcelain factory, by master sculptor Johann Joachim Kändler. https://www.christies.com/en/lot/lot-3933086
Kändler’s Model of a Turkey was one of many animals and birds—ranging from exotic birds to fierce dogs and elephants—that were created for the foremost 18th-century collector of oriental porcelain: Augustus the Strong, elector of Saxony and king of Poland, who was also the founder of the Meissen porcelain factory. In the early 1720s, just a little over a decade since the establishment of the Meissen factory in 1710, Augustus the Strong, captivated by the beauty of porcelain, envisioned a life-size porcelain menagerie for his Japanese Palace in Dresden. He was by far the greatest collector of Chinese and Japanese porcelain, what he was missing was a breathtaking assemblage of porcelain produced by his own factory at Meissen. His dream was put into practice in 1728, and by 1735, it had become a reality.
According to Christie’s experts… Two principal modellers were involved in this huge undertaking: Johann Gottlieb Kirchner and Johann Joachim Kändler. The latter became Kirchner’s successor and a major figure in the history of Meissen. Kändler’s skill was to breathe life into the models and give them a sense of dynamic movement, and his work is still very much admired by collectors.https://www.christies.com/en/stories/a-guide-to-collecting-meissen-porcelain-50def5394a5a4f6d8efaf91756720072
Johann Joachim Kändler’s importance as an artist at the Meissen porcelain factory lies in his pioneering artistry, diverse artistic contributions, innovative designs and techniques, collaborations and partnerships, royal patronage, and enduring legacy within the realm of porcelain art. Kändler was known for his exceptional ability to depict animals or birds, like the white life-size Turkey model, with a high degree of naturalism and accuracy. His menagerie models captured the essence of various creatures in a lifelike and realistic manner. This naturalistic representation showcased his mastery of form, anatomy, and attention to detail.
He is also known for his attention to detail and realism. The menagerie models he created were meticulously crafted, paying careful attention to the intricate details of each animal. From the texture of feathers and fur to the expressions on their faces, Kändler’s models displayed a remarkable level of realism, featuring dynamic and expressive poses, and capturing the animals in various states of movement or repose. These dynamic poses added vitality and energy to the models, making them visually engaging and captivating.
Meissen Porcelain Manufactory, active 1710 – present, Dresden, Germany Modelled by Johann Joachim Kändler, 1706 – 1775 A Turkey, 1733, white glazed hard-paste porcelain, 53.5 × 51 × 20 cm, the Getty Museum, CA, USA https://www.christies.com/en/lot/lot-3933086
The use of porcelain as the medium for these models added to their aesthetic allure. Porcelain, with its smooth texture, translucency, and delicate nature, provided a perfect canvas for Kändler to showcase his artistic vision. The whiteness of the porcelain allowed for intricate painting and detailing, enhancing the overall aesthetic quality of the menagerie models. Kändler’s models were not only aesthetically appealing but also held cultural and historical significance. They were reflective of the 18th-century European fascination with the natural world and the desire to bring aspects of the natural world into the realm of art and decoration.
If Meissen’s animal porcelain figurines tell us stories in delicate forms… Kändler’s models of animals and birds showcase artistic brilliance and significantly contribute to the world of porcelain art.
Happy Thanksgiving Day!
Give thanks for each new morning with its light, / For rest and shelter of the night. / For health and food, / For love and friends, / For everything they goodness sends… (Ralph Waldo Emerson, 1803-1882)
Please… Check HERE!for the Meissen Porcelain for Thanksgiving PowerPoint, titled The Meissen Managerie: 10 Outstanding Examples!
…Mothers, fathers, teachers, nurses, doctors, government leaders, civil society activists, religious and community elders, corporate moguls, media professionals, and even young people and children themselves all have a crucial role to play in making World Children’s Day meaningful within their societies, communities, and nations… In 1954, the United Nations designated the 20th of November as World Children’s Day, aiming to enhance children’s welfare, foster international unity, and raise awareness among children worldwide. …World Children’s Day provides each of us with an inspirational starting point to advocate for, promote, and celebrate children’s rights. This significant celebratory day is described in this manner by the United Nations… The Spedale degli Innocenti in Florence, an architectural masterpiece designed by Filippo Brunelleschi, holds historical significance as the first Renaissance orphanage, serving as a testament to Florence’s compassion and care for innocent children. In honor of this important UN Day, today’s BLOG POST will serve as my humble contribution. https://www.un.org/en/observances/world-childrens-day
Filippo Brunelleschi (1377-1446) was an Italian Renaissance architect, engineer, and designer, known for his innovative contributions to architecture and engineering during the 15th century. He is considered one of the founding fathers of Renaissance architecture and played a crucial role in the development of perspective in painting and the use of linear perspective in architectural design.
Inspired by classical Roman architectural designs, Ospedale degli Innocenti, the Hospital of the Innocents (meaning innocent children), also known in the old Tuscan dialect as the Spedale degli Innocenti, is Brunelleschi’s first Renaissance architectural achievement. Constructed between 1419 and 1445, Ospedale was commissioned by the Arte della Seta (Silk Guild) or the Silk Merchants’ Guild, a powerful economic and cultural organization in Florence.
The purpose of the Ospedale degli Innocenti was to serve as an orphanage and foundling hospital, providing care and support for abandoned or orphaned children. The name “Innocenti” emphasizes the institution’s focus on providing care and support to the most vulnerable members of society—orphans and abandoned infants.
If the construction and establishment of the Ospedale degli Innocenti showcased a significant social and cultural development, representing the burgeoning Renaissance ideals of compassion, and humanism, Brunelleschi’s architectural design reflected the changing Renaissance aesthetic and laid the foundation for the Renaissance architectural style that followed. For example, by incorporating classical elements and proportions inspired by ancient Roman and Greek architecture, the building’s facade displayed a harmonious and balanced arrangement of columns, arches, and pilasters, showcasing the influence of classical design principles. Ospedale’s facade is characterized by its symmetrical layout, while its arcades and loggias add elegance and an open design. Thus, Brunelleschi’s building exhibits a sense of equilibrium and balance, a hallmark of Renaissance design influenced by classical ideals.
Let’s not forget how Vasari describes Brunelleschi’s sojourn to Rome and his meticulous investigation of the city’s ancient ruins. Vasari recalls how the artist did not apparently rest …until he had drawn every sort of building–round, square, and octagonal temples, basilicas, aqueducts, baths, arches, colosseum, amphitheaters, and every temple built of bricks, from which he copied the methods of binding and of clamping with ties, and also of encircling vaults with them; and he noted the ways of making buildings secure by binding the stones together by iron bars, and by dovetailing… He then distinguished the different Orders one from another–Doric, Ionic, and Corinthian; and so zealous was his study that his intellect became very well able to see Rome, in imagination, as she was when she was not in ruins.https://filippobrunelleschifacts.tumblr.com/post/109790232722/vasaris-lives-of-the-artists-life-of
Spedale degli Innocenti is the ‘canvas’ of yet another great master of Italian Renaissance art, that is Andrea della Robbia. In 1487, according to Dr. Rachel Boyd, Andrea della Robbia was hired to fill the loggia’s roundels (Brunelleschi’s design intentionally left the roundels on the loggia facade unadorned) with colorful works of art. Described as bambini di terra (“babies made of clay”) in an original payment record, these high-relief sculptures were made in glazed terracotta, a distinctive medium that was the signature of the Della Robbia family workshop.https://smarthistory.org/andrea-della-robbia-bambini-ospedale-degli-innocenti/
The Della Robbia roundels in the Ospedale degli Innocenti are celebrated for their artistic beauty, mastery of ceramic technique, and their contribution to the visual identity of one of Florence’s historic landmarks. The babies are rendered with a remarkable degree of realism and naturalism. The facial features, anatomy, and proportions of the infants are meticulously crafted, displaying a lifelike quality that adds to their charm and appeal. Their cherubic faces and gentle expressions convey a sense of innocence and serenity, evoking a feeling of tenderness and care.
I could easily add that the artistic qualities of the depicted babies in Andrea della Robbia’s glazed terracotta roundels include a blend of realism, expressive features, symbolism of childhood, and a mastery of the glazed terracotta technique, resulting in a timeless and captivating representation of infancy and innocence. What an achievement!
For a PowerPoint on Brunelleschi’s Oeuvre, please… Check HERE!
Abbey of Sainte-Foy, c. 1050–1130, Conques, France Reliquary statue of Sainte-Foy (Saint Faith), late 10th to early 11th century, gold, silver gilt, jewels, and cameos over a wooden core, 85.09 cm, Treasury, Abbey of Sainte-Foy, Conques, France https://smarthistory.org/church-and-reliquary-of-sainte%E2%80%90foy-france/
The Romanesque Period, spanning roughly from the 11th through the 12th century in Europe, was characterized by a distinct style of art (in sculpture and painting) and architecture. During this time, the construction of massive, fortress-like buildings with thick stone or stone-and-brick walls was prevalent. Rounded arches, barrel and groin vaults, and small, often semicircular windows were common architectural features. Romanesque art and architecture were marked by an emphasis on symmetry, simplicity, and sculptural decoration, particularly on church facades. These structures, often adorned with intricate stone carvings depicting religious and historical scenes, were designed to inspire and educate the largely illiterate medieval populace. The Romanesque style was closely associated with the power and influence of the Christian Church, but it also found expression in secular structures like castles. It eventually evolved into the more elaborate and vertical Gothic style, but the Romanesque period remains a testament to the medieval European quest for stability, security, and spiritual enlightenment.
Architecture
Romanesque architecture is often associated with the construction of churches and monastic buildings, reflecting the strong influence of the Christian Church during this period. However, the style was also used in the construction of castles, bridges, and other secular structures. It eventually gave way to the Gothic style, which introduced more complex and innovative architectural elements, such as pointed arches, flying buttresses, and larger stained-glass windows. Romanesque art and architecture remain an important part of Europe’s cultural heritage and a testament to the creative and architectural achievements of the medieval period.
Here are key characteristics of Romanesque architecture… Thick, massive walls: Romanesque buildings are known for their thick and sturdy walls, which often incorporate a combination of stone and brick. These walls provided stability and a sense of security, which was important during a period marked by political and social instability. Rounded arches: Romanesque architecture typically features rounded arches, both in doorways and windows. This contrasts with the later Gothic style, which is known for its pointed arches. Barrel vaults and groin vaults: Romanesque churches often have barrel vaults in their naves and aisles, with thick columns or piers supporting the ceiling. In some cases, groin vaults (intersecting barrel vaults) were used, which allowed for larger, more open spaces. Symmetry and order: The Romanesque church plan reflects a desire for symmetry and order, with a focus on creating a sacred space conducive to worship and religious rituals. The cruciform layout, combined with elements like thick walls, rounded arches, and decorative carvings, contributes to the overall solidity and spiritual significance of Romanesque architecture.
Sculpture
Romanesque sculpture, a prominent aspect of the Romanesque period’s artistic expression, is characterized by its highly ornate and intricate stone carvings. These sculptures adorned the facades, portals, and interior spaces of Romanesque churches and other buildings, serving both decorative and didactic purposes.
Key features of Romanesque sculpture include… Religious Themes: Romanesque sculpture predominantly featured religious subjects, such as biblical narratives, saints, and religious symbols. These carvings aimed to convey Christian teachings to an often illiterate medieval audience. Portals and Tympana: One of the most significant areas for Romanesque sculpture was the tympanum, the semicircular space above a church’s entrance. Here, intricate scenes from the Bible, such as the Last Judgment or the Nativity, were depicted in detail. Capital Sculpture: Sculpted capitals, found on the columns or piers within churches, were another prominent location for Romanesque sculpture. These carvings often portrayed various scenes and figures, both religious and secular, and were known for their expressive and stylized designs. Symbolism: Romanesque sculpture was rich in symbolism, with each element carefully chosen to convey a deeper message. For example, animals, grotesque figures, and intricate foliage were often used to represent moral lessons and the struggle between good and evil. Stylized Figures: The figures in Romanesque sculpture often exhibited a certain stiffness and formality, with elongated proportions and simplified facial features. This reflected the artistic conventions of the time and was influenced by the Byzantine and Carolingian traditions.
Romanesque sculpture played a vital role in conveying religious and moral messages to a largely non-literate medieval population. It also demonstrated the artistic and creative achievements of the period, setting the stage for the more dynamic and naturalistic sculptural traditions that emerged in the subsequent Gothic period.
For a PowerPoint on French Romanesque Art, please… Check HERE!
The myth of the fight between Achelous and Hercules is a captivating tale from Greek mythology. In this legend, Achelous, an ancient Greek river god, transforms into various shapes during his battle with Hercules in an attempt to defeat the hero and win the hand of Deianira, the beautiful Calydonian princess. Despite his shapeshifting abilities, Achelous is ultimately outmatched by Hercules, who manages to break off one of the river god’s horns. This horn becomes the Cornucopia, or the “Horn of Plenty,” symbolizing abundance and nourishment. The myth highlights Hercules’ strength and resourcefulness, as well as the enduring theme of divine contests and transformations in Greek mythology.
Ovid’s narrative in Book 9 of the Metamorphoses provides a detailed account of this myth, including the transformations of Achelous and his fateful battle with Hercules. Who wants to recall the battles he has lost? The great river God tells Theseus, the Athenian hero… But, I will tell it as it happened: since the shame of being beaten is no less than the honour of having fought. It is a great consolation to me that the victor was so famous… Ovid, a prominent Roman poet who lived during the 1st century BC, is known for his retelling of various Greek and Roman myths. He became famous and influential in preserving and popularizing these ancient stories. https://ovid.lib.virginia.edu/trans/Metamorph9.htm#483366540
In 1947 American artist Thomas Hart Benton was hired by Lester Siegel Sr., proprietor of Kansas City’s Harzfeld department store, to decorate the wall above the store’s elevator area. Benton settled on a retelling of the Achelous and Hercules myth from ancient Greece, setting it in present-day Missouri. The artist viewed this legend as a parable of his beloved Midwest. The Army Corps of Engineers had begun, at the time, efforts to control the Missouri River, and Benton imagined, and depicted, a future where the waterway was tamed, and the earth swelled with robust harvests. https://ovid.lib.virginia.edu/trans/Metamorph9.htm#483366540 and https://narrativepainting.net/thomas-hart-benton-achelous-and-hercules-1947/
The artwork features a dynamic and muscular Hercules wrestling Achelous, who is depicted as a ferocious bull. Benton’s composition is characterized by bold, exaggerated forms and a strong sense of movement, which is a hallmark of his unique approach to storytelling through art. This painting is a prime example of the artist’s ability to fuse classical themes with the American experience, creating a powerful and visually compelling narrative.
In Achelous and Hercules, Benton not only showcases his technical prowess but also his deep appreciation for the human struggle and the mythological underpinnings that resonate with American themes of strength and determination. The painting stands as a testament to Benton’s skill in merging classical and contemporary elements, and it remains a significant piece in the realm of American art history.
Thomas Hart Benton was a prominent American artist known for his contributions to the American Regionalist movement in the early to mid-20th century. Born in Neosho, Missouri, in 1889, Benton’s work is characterized by its celebration of everyday life in rural America. He was a master of capturing the essence of the American heartland through his vivid and dynamic paintings, often depicting scenes of farmers, laborers, and small-town life. Benton’s art not only showcased his exceptional technical skill but also conveyed a deep sense of patriotism and a connection to the working-class people he portrayed. His distinctive style combined elements of European modernism with a uniquely American perspective. Benton’s legacy lives on as his art continues to be celebrated for its evocative storytelling and its role in shaping the American art landscape.
For a PowerPoint on Thomas Hart Benton’s oeuvre, please… Check HERE!
Once upon a time, in the ancient land of the Franks, there lived a great warrior named Merovech. Merovech was no ordinary man; he had a legendary tale woven into the very fabric of his being. His mother was the Queen of the Franks, An intelligent and powerful woman, who held a mysterious secret… One day, as she wandered along the shores of the great sea, a magnificent sea monster named ‘Quinotaur’ appeared before her. This creature was unlike anything she had ever seen, with shimmering scales and gentle eyes. They spent joyful days together, swimming in the sea, sharing stories and laughter. Their coming together brought forth the child Merovech, a blend of both sea and land, destined for greatness. He became the founder of The MerovingianDynasty of the Francs, strong and wise. His legacy lived on through generations, becoming a testament to the magical love that had once graced the land and the sea. (my own presentation of the Merovingian legend)
So, let’s explore the ‘who,’ ‘how,’ and ‘what’ of the Merovingian Dynasty by answering some questions!
‘Who’ were the Merovingians and ‘What’ defined their dynasty? The Merovingians were a dynasty of Frankish kings that ruled over a significant portion of what is now modern-day France and parts of Germany from the 5th to the 8th centuries. They were named after Merovech, a semi-legendary figure who was thought to be their ancestor.
The dynasty was founded by Merovech’s son, Childeric I, and expanded by his son Clovis I, who is credited with uniting the Franks and converting to Christianity, specifically to Catholicism. Under Clovis I and subsequent Merovingian kings, the dynasty expanded its territory through military conquests, incorporating various Germanic and Gallo-Roman regions. The Merovingian kings were initially strong warriors but later became somewhat figurehead rulers due to a system of decentralization, where local rulers and nobles gained significant autonomy. This led to a weakened central authority. Over time, the dynasty faced internal strife, infighting, and challenges from other Frankish noble families. The decline of the Merovingian Dynasty ultimately paved the way for the rise of the Carolingians, with Charlemagne becoming a central figure in consolidating power and reuniting much of Western Europe.
‘What’ historical and archaeological evidence supports the early history of the Merovingians? The early history of the Merovingians is primarily supported by a combination of historical texts, archaeological findings, numismatic evidence (coinage), and contemporary accounts from neighboring cultures. For instance, works like “Historia Francorum” by Gregory of Tours, a bishop and historian, provide valuable historical accounts of the Merovingian Dynasty, including the reigns of various Merovingian kings and important events during their rule. Additionally, “Fredegar’s Chronicle,” compiled by an anonymous Frankish chronicler known as Fredegar, covers the history of the Franks and the Merovingian Dynasty, offering insights into their early history and political developments.
Diplomatic communications between Merovingian rulers and other contemporary powers, such as Byzantine emperors and popes, provide historical context and shed light on their political relationships, alliances, and conflicts, while Ecclesiastical Documents from the Merovingian period provide information on religious practices, conflicts, and the influence of Christianity on the Merovingian rulers and society. By synthesizing information from these sources, historians construct a comprehensive understanding of the early history of the Merovingians and their contributions to the development of medieval Europe.
Numismatic Evidence, particularly coins minted during the Merovingian era, offers information about their political and economic activities, rulership, and trade relations with neighboring regions. The design, inscriptions, and use of different metals provide insights into their economy and society.
Finally, archaeological excavations of religious sites, graveyards, and tombs associated with the Merovingian period provide valuable insights into their society, beliefs, culture, and burial practices. The discovery of artifacts, grave goods, and the architecture of these tombs helps in understanding their beliefs and social structure. Excavations of royal residences, on the other hand, provide clues about the lifestyle, architecture, and level of sophistication of the Merovingian elite. These sites reveal aspects of governance, art, and material culture.
‘How’ did the arts and culture flourish during the time of the Merovingian Dynasty? During the time of the Merovingian Dynasty, spanning from the 5th to the 8th centuries, arts and culture experienced a distinctive evolution and expression within the Frankish Kingdom. However, it’s important to note that the available historical evidence regarding the arts and culture of this period is relatively limited compared to later medieval periods.
The artistic style during the Merovingian era was influenced by a blend of Germanic, Roman, and early Christian artistic traditions. The Merovingians adopted certain Roman artistic elements, such as architectural designs, while incorporating their own unique styles and themes. For instance, churches and monastic complexes showcased a fusion of Roman architectural features and Germanic influences, often displaying simple designs, rounded arches, and timber construction.
Intricate metalwork, especially in the creation of jewelry like brooches and buckles, held significant artistic value. These pieces often boasted elaborate patterns, filigree work, and the use of gemstones. Additionally, though the number of surviving illuminated manuscripts from this era is limited, some notable examples exist. Manuscripts, typically religious in nature and including Gospel books and psalters, were adorned with colorful illuminations and decorated initials.
In conclusion, the arts and culture flourished during the time of the Merovingian Dynasty, showcasing a unique blend of Germanic, Roman, and early Christian artistic influences. Despite the limitations in available historical evidence, the Merovingians left a lasting legacy through intricate metalwork, expressive jewelry designs, distinctive architectural styles in religious structures, and the production of illuminated manuscripts adorned with vibrant illuminations. These cultural and artistic achievements reflect the dynamic evolution and creative expression within the Frankish Kingdom during the Merovingian era from the 5th to the 8th centuries.
For a PowerPoint on Merovingian Art, please… Check HERE!
Andrew Wyeth, American Artist, 1917-2009 November First, 1950, Watercolour on Paper mounted on Paperboard, 55.2 x 75.4 cm, Smithsonian American Art Museum, Washington DC, USA https://americanart.si.edu/artwork/november-first-32150
Let me quote Andrew Wyeth… I prefer winter and fall, when you feel the bone structure of the landscape – the loneliness of it, the dead feeling of winter. Something awaits beneath it, the whole story doesn’t show… and introduce to you November First, a landscape of loneliness, decay, and renewal. https://www.theartstory.org/artist/wyeth-andrew/
Andrew Wyeth (1917-2009) was a highly acclaimed American artist known for his realistic and detailed paintings, primarily in a style known as American Realism. He was born in Chadds Ford, Pennsylvania, and was the youngest of the five children of the well-known illustrator and artist N.C. Wyeth. He gained widespread recognition for his works that often depicted the rural landscapes and people of Pennsylvania and Maine. He had a deep connection with the natural world, which was reflected in his art. Some of his most famous works include Christina’s World, a haunting and iconic painting depicting a young woman lying in a field, and the Helga Testorf series, which portrayed a German model and became a subject of much interest and controversy.
The artist masterfully captured for example, textures, surfaces, and subtle variations in light and shadow, creating a sense of hyper-realism in his paintings. His work centered around nature, landscapes, and rural scenes showing a deep appreciation for the natural world and often depicting it with great accuracy and sensitivity. He preferred a subdued and muted colour palette, typically using earth tones, greys, and muted greens. This choice of colours and the interplay of light and shadow in his paintings contributed to the quiet and contemplative mood of his works, evoking a sense of isolation, solitude, and introspection, quiet contemplation, and emotional depth. Depicting scenes and characters from rural America, Wyeth managed to capture the essence of American rural life, and portray its beauty, simplicity, and the passing of time.
Wyeth primarily used two main painting techniques, egg tempera and watercolour. Egg tempera involves mixing pigment with a water-soluble binder made from egg yolk, resulting in a luminous and finely detailed surface. Watercolour, on the other hand, allowed for a more fluid and transparent approach.
Created in 1950, November First is a watercolour painting on paper mounted on paperboard. Part of the Smithsonian American Art Museum, Wyeth’s painting depicts tattered cornstalks in a harvested field, and captures the cold damp of late autumn, portraying the inevitable cycles of decay and renewal… The cornfield shown in this watercolor was located near his studio in Chadds Ford, behind the house of Dr. Margaret Handy, the pediatrician who cared for Wyeth’s two children.https://americanart.si.edu/artwork/november-first-32150
Employing a subdued and muted colour palette that resonates with the November scenery, shades of ochre, gray, muted greens, and hints of blue, dramatic contrasts of light and shadow, and a range of brushwork techniques in watercolour, including washes, and drybrush, Wyeth created a painting that evokes the distinct feelings associated with the month of November. His composition is simple yet elegant, focusing on the beauty and essence of the seasonal landscape, emphasizing a sense of quietude, contemplation, and peacefulness often associated with late autumn and winter.
For a PowerPoint presentation, please… Check HERE!
It began just after dawn on 20 May 1941. Many of the 7700 New Zealand soldiers stationed on Crete were finishing breakfast when hundreds of German transport aircraft – some towing gliders – rumbled in over the Mediterranean island. The air above was suddenly filled with parachutes as thousands of elite German paratroops began to descend from the sky. This was the start of what is known as the Battle for Crete. For 12 dramatic days New Zealanders, British, Australian, and Greek troops, assisted by Cretan civilians, tried to repel a huge airborne assault by the Germans. They almost succeeded. Peter McIntyre’s Paintings of the Battle of Crete provide a visual record of the events and scenes during the Battle of Crete. As an official war artist, McIntyre had the unique opportunity to witness the battle firsthand and capture its moments on canvas. These paintings serve as a historical document that helps us better understand the conditions, landscapes, and experiences of those involved in the battle. https://nzhistory.govt.nz/war/the-battle-for-crete/overview
Peter McIntyre (1910–1995) was a notable New Zealand artist known for his landscapes and depictions of rural scenes. He gained recognition for his ability to capture the natural beauty of New Zealand’s landscapes and the unique qualities of its light. McIntyre was born in Dunedin, New Zealand, and he displayed artistic talent from a young age. He attended the Dunedin School of Art and later studied at the Elam School of Fine Arts in Auckland. His early works were influenced by the Regionalist movement, which aimed to capture the essence of New Zealand’s unique landscapes and culture.
One of McIntyre’s significant accomplishments was his role as an official war artist during World War II. He was attached to the New Zealand Expeditionary Force and documented the experiences of New Zealand forces in various theaters of war, including Crete, North Africa, and Italy. McIntyre’s artistic contributions during this time were significant and provided a visual record of the war and its impact on the troops.
In Crete, McIntyre accompanied New Zealand forces during the Battle of Crete in 1941. He witnessed the intense fighting and documented the events through his paintings. McIntyre’s artwork from Crete captured the rugged terrain, the chaos of battle, and the resilience of the soldiers involved. His paintings conveyed the human side of war and reflected the courage, determination, and sacrifices made by the New Zealand forces.
The Blitz, Canea Crete area defended by New Zealanders, May 1941, Oils, 625 x 740mm, Archives New Zealand https://www.archives.govt.nz/images/the-blitz-canea-crete-area-defended-by-nz-ers-new-zealanders-may-1941
McIntyre’s artistic interpretation of the battle brings a unique perspective to the historical narrative. His choices in composition, lighting, and focal points add an artistic layer to the historical record, encouraging viewers to engage with the events on both an intellectual and emotional level.
My favorite McIntyre painting of the Battle for Crete is titled The Barge from Crete! It illustrates, according to the New Zealand History Archives experts, the epic journey of a group of escapees who sailed an abandoned landing barge from Crete to Egypt. The 137-strong party, mostly Royal Marines, set out on 1 June. Nine New Zealanders were thought to be among this party, although the only one known by name was Private W.A. Hancox. He had been picked up 3 km offshore, paddling along on a plank of wood.https://nzhistory.govt.nz/media/photo/the-barge-crete-peter-mcintyre
After the barge’s fuel ran out blankets were rigged as sails. To make sure these caught the breeze the men often had to jump into the water and push the nose of the barge in the right direction. Conditions on board were tough. Food supplies were rationed to half a tobacco tin of water and a teaspoon of bully beef per day. During the voyage, one soldier died of exhaustion, and another committed suicide. On 9 June, eight days after leaving Crete, the barge drifted ashore 24 km west of Sidi Barrani in Egypt.https://nzhistory.govt.nz/media/photo/the-barge-crete-peter-mcintyre
Peter McIntyre’s paintings of the Battle of Crete are important as they combine historical documentation, personal perspective, emotional impact, artistic interpretation, and cultural memory. They help us remember, learn from, and emotionally engage with this significant moment in history.
For a PowerPoint of Peter McIntyre’s Paintings of the Battle of Crete, please… Check HERE!
…Constantius and Galerius were made emperors; and the Roman world was divided between them in such a manner, that Constantius had Gaul, Italy, and Africa; Galerius Illyricum, Asia, and the East… Galerius, a man of excellent moral character, and skillful in military affairs, finding that Italy, by Constantius’s permission, was put under his government, created two Caesars, MAXIMIN, whom he appointed over the east, and SEVERUS, to whom he committed Italy. He himself resided in Illyricum… wrote Eutropius in Book X of Abridgement of Roman History about Emperor Gaius Galerius Valerius Maximianus. https://www.forumromanum.org/literature/eutropius/trans10.html
In the Epitome De Caesaribus, a booklet about the Style of Life and the Manners of the Imperatores, sometimes attributed to Sextus Aurelius Victor, Emperor Galerius is described as …possessed of an uncultivated and rustic justice…he was, however, the author continues, praiseworthy enough, physically attractive, a skilled and fortunate warrior, sprung from country parents, a keeper of cattle, whence for him the cognomen Armentarius [“Herdsman”]. 16. He was born and also buried in Dacia Ripensis, a place which he had called Romulianum from the name of his mother, Romula. 17. He insolently dared to affirm that, in the fashion of Olympias, the mother of Alexander the Great, his mother had conceived him after she had been embraced by a serpent.http://roman-emperors.sites.luc.edu/epitome.htm
Living in Thessaloniki, where numerous buildings and structures commissioned by Galerius still grace the cityscape, serving as popular attractions, I find it necessary to introduce you to Emperor Gaius Galerius Valerius Maximianus, commonly referred to as Galerius. He held the position of Roman Emperor within the Tetrarchy system, a governance framework established by Emperor Diocletian, which partitioned the Roman Empire into four co-ruling territories. Galerius, during his rule as Augustus from 305 to 311 AD, gained renown for his multifaceted role within the Tetrarchy, his involvement in the Christian persecutions of the early 4th century, and his military campaigns waged against the Sassanid Empire and hostile Danube frontier tribes.
From the Octagon in the Palace of Galerius in Thessaloniki: “The Small Arch of Galerius”, Archaeological Museum of Thessaloniki, Greece https://www.amth.gr/en/exhibitions/highlights
Much like many of his predecessors, Galerius was prominently featured in a multitude of portraits and statues throughout his reign. These artistic representations consistently cast him as a strong and unwavering leader, characterized by stern expression and adorned with intricate military regalia. Beyond their artistic merit, these depictions held profound historical value, serving as windows into the prevailing culture and politics of the Roman Empire during his rule. Moreover, they afford us a glimpse into the nuanced strategies employed by emperors to project their influence and command, shedding light on the perceptions held by their subjects and contemporaries.
Upon encountering his portrait at the Canellopoulos Museum in Athens, I was truly taken aback. Galerius appeared notably advanced in age, likely in the twilight of his life, exuding an aura of austerity, distance, and impassivity. Gazing upon his face, one can vividly sense the gravity of his station. Despite, however, the impression of weariness, detachment, and aloofness, the Emperor unmistakably embodies the quintessential image of an absolute monarch within the Tetrarchy – a power deserving of the most serious consideration!
For a PowerPoint of Portraits depicting Emperor Galerius, please… Check HERE!
Jean-Léon Gérôme, French Artist, 1824–1904 The First Kiss of the Sun, 1886, Oil on Canvas laid on Board, 54 x 100.4 cm, Private Collection https://www.christies.com/en/lot/lot-6438415
Characterized by Ackerman as “The most beautifully composed and painted of Gérôme‘s landscapes”. The First Kiss of the Sun was painted in 1886, six years after Gérôme‘s last trip to Egypt. https://www.christies.com/en/lot/lot-6438415 (G.M. Ackerman, Jean-Léon Gérome, London, 1986)
So… Who is Jean-Léon Gérôme? Why is his painting The First Kiss of the Sunso beautifully composed and painted? What do we know about his artistic achievements? Let’s explore Jean-Léon Gérôme’s oeuvre … by answering some questions!
Who is Jean-Léon Gérôme? He is a prominent 19th-century French academic painter, sculptor, and teacher known for his historical and Orientalist works. He was born on May 11, 1824, in Vesoul, France, and passed away on January 10, 1904, in Paris. Gérôme began his artistic training at an early age, studying under Paul Delaroche, a renowned historical painter. He later attended the École des Beaux-Arts in Paris, where he developed a meticulous and highly detailed style that characterized much of his work. His artistry drew heavily from historical and classical themes, often depicting scenes from ancient civilizations and mythology.
How and Why did Gérôme become famous? During the 1850s and 1860s, Gérôme gained widespread recognition and success for his paintings, which often featured archaeological and ethnographic elements. He was particularly acclaimed for his Orientalist pieces, showcasing scenes from the Middle East and North Africa, illustrating the exoticism and culture of these regions. He was a skilled draftsman as well, utilizing precise anatomical and architectural details in his work. His paintings were characterized by their careful composition, vibrant colours, and the depiction of intricate textures. He also explored themes of academic classicism, often depicting heroic or mythological figures.
How is an ‘Orientalist’ artist described? An “Orientalist” artist refers to a Western artist, usually from Europe or North America, who specializes in creating art that focuses on the depiction of the Orient. The Orient, in this context, typically referred to regions of the Middle East, North Africa, and parts of Asia. Orientalist artists were active primarily during the 19th and early 20th centuries, although the influence of Orientalism extends beyond this time frame.
Orientalist artists focused on portraying scenes, landscapes, people, and cultures from the Eastern world. These scenes often included depictions of daily life, historical events, architecture, landscapes, and various customs prevalent in the Orient. They often emphasized the exotic and romantic aspects of the Orient. Artists presented these regions as mysterious, alluring, and different from the Western world. The art was often intended to captivate and fascinate Western audiences.
Why is Gérôme considered to be an Orientalist artist? Gérôme is widely recognized for his artistic focus on depicting scenes, landscapes, and people from the Orient, particularly the Middle East and North Africa. He had, for example, a deep connection to Egypt that greatly influenced his artwork. This connection was primarily through his travels to Egypt, seven times to be precise, and his fascination with its culture, architecture, and history. Gérôme’s interest in Egypt is reflected in a significant portion of his body of work, particularly his Orientalist paintings and sculptures.
How is Gérôme’s painting ‘The First Kiss of the Sun’ best described? According to Christie’s, where The First Kiss of the Sun was auctioned in 2023, the painting dates from 1886, six years after Gérome’s last trip to Egypt. This is probably one of the artist’s most accomplished landscapes. It shows the pyramids of Giza suffused in the golden morning light of the desert sun. This view is from the west, as seen from the rising sun illuminating the summit of each pyramid. The ethereal appearance of the distant pyramids contrasts dramatically with the clearly detailed foreground. Moreover, the haze created by the sand and sunlight lends the picture an air of otherworldliness. The head of the Sphinx is just visible in the middle background.https://www.christies.com/en/lot/lot-6438415
The First Kiss of the Sun Gérôme provides a carefully detailed and beautifully rendered scene of the Giza Plateau, one of Egypt’s most iconic archaeological sites. Interestingly, the painting features the Pharaonic funerary buildings in the background along with a contemporary Bedouin camp in the foreground. The artist captures the soft and ethereal light of the rising sun, which casts a cooler, in my opinion, golden/violet glow on the ancient structures and the surrounding landscape.
How did Gérôme manage to leave a lasting impact on the art world? In addition to his artistic achievements, Gérôme was an influential teacher, serving as a professor at the École des Beaux-Arts in Paris. He mentored many aspiring artists, leaving a lasting impact on the art world through his teachings. Throughout his career, Jean-Léon Gérôme received numerous awards and honours, solidifying his reputation as a leading academic artist of the 19th century. Despite changing artistic trends, his work continues to be appreciated and studied for its historical significance and technical mastery.
For a PowerPoint Presentation of Jean-Léon Gérôme’s Paintings of Egypt, please… Check HERE!
The use of light and shadow accentuates the form and texture of the Pyramids, enhancing the sense of depth and three-dimensionality. Gérôme’s meticulous attention to detail is evident in the accurate rendering of the architectural elements and the presentation of the ‘exotic’ Bedouin campsite. The overall composition conveys a sense of awe and reverence for the historical and cultural significance of the site.
For a PowerPoint on French Academic Art, please… Check HERE!
