Félix Ziem’s painting of Constantinople

by 19th century ArtArtFrench ArtOrientalismPowerpoints
Félix Ziem, French Artist, 1821-1911
Constantinople, 1857-58, Oil on Canvas, 58 x 93.4 cm, Private Collection
https://www.christies.com/en/private-sales/privateitems/private-item-SN00656940-001

…Once out of nature I shall never take / My bodily form from any natural thing, / But such a form as Grecian goldsmiths make / Of hammered gold and gold enamelling / To keep a drowsy Emperor awake; / Or set upon a golden bough to sing / To lords and ladies of Byzantium / Of what is past, or passing, or to come. The closing lines of W. B. Yeats’s poem Sailing to Byzantium, and Félix Ziem’s painting of Constantinople both engage with the East as an idealized realm of transcendence and beauty, albeit in different artistic forms. Yeats’ Byzantium is a symbolic place of spiritual and artistic immortality, where the soul escapes the physical decay of old age and achieves eternal wisdom. In a parallel way, Ziem’s depiction of Constantinople offers a romanticized vision of the East, reflecting the 19th-century Orientalist fascination with the exotic and timeless aspects of the Orient. Both works use their respective mediums to transport the audience to an imagined, heightened version of the East.

The Orientalist connection between these works lies in their idealization of the East as a space of otherness, mystery, and eternal allure. While Yeats uses Byzantium as a metaphor for personal and artistic transcendence, Ziem’s Constantinople fits into the broader Orientalist tradition of presenting the East as a visually stunning and dreamlike world. Both artists, in their ways, construct the East as a place removed from mundane reality, where beauty and spiritual richness abound. Their works capture the Western artistic fascination with the Orient as a realm of wonder and aesthetic fulfilment.

Félix Ziem (1821–1911) was a French painter known for his vivid, atmospheric landscapes and maritime scenes, often depicting exotic locales. Born in Beaune, France, Ziem initially studied architecture before turning to painting, a transition that shaped his skilful rendering of urban spaces and architectural details in his artwork. He became associated with the Barbizon School, a movement that focused on naturalistic depictions of rural life. Still, Ziem’s works often took a different path, leaning toward the fantastical and picturesque. His fascination with travel and the allure of distant places led him to explore Venice, the Mediterranean, and especially the Ottoman Empire, particularly Constantinople (modern-day Istanbul). These experiences fueled his work, making him a significant figure in the Orientalist movement, which romanticized and idealized the East in Western art.

Ziem’s mastery of light and colour, combined with his ability to evoke the grandeur and mystique of foreign landscapes, earned him widespread acclaim during his lifetime. He exhibited frequently at the Paris Salon and achieved considerable financial success, an unusual feat for a 19th-century artist. Ziem was admired for his skill in capturing the shimmering waters and golden light of the Mediterranean, particularly in his Venetian and Constantinople scenes, which remain some of his most famous works. His love for travel and exploration is reflected in the dreamlike quality of his paintings, which often blur the line between reality and romantic fantasy. In 1908, he was awarded the prestigious honour of being inducted into the French Academy of Fine Arts.

Félix Ziem’s painting Constantinople captures the vibrancy and grandeur of the Ottoman capital through a masterful blend of light, colour, and architectural detail. The painting offers a panoramic view of the city’s waterfront, where the sparkling waters of the Golden Horn meet the bustling harbour, and boats glide gracefully along. Dominating the skyline is the majestic silhouette of domes and minarets, including the iconic Hagia Sophia, bathed in the warm, golden glow of the setting sun. Ziem’s brushwork evokes the atmosphere of a city alive with activity and culture, yet shrouded in a dreamlike haze that enhances its exotic appeal. The luminous sky and shimmering reflections on the water create a sense of serenity and timelessness, presenting Constantinople not just as a geographical location but as a symbol of the alluring, mystical East. Ziem’s portrayal invites the viewer into a romanticized vision of the city, where everyday life blends with the grandeur of empire and the beauty of the natural world.

For a PowerPoint Presentation of Félix Ziem’s oeuvre, please… Check HERE!

Bibliography: https://www.christies.com/en/private-sales/privateitems/private-item-SN00656940-001

Pair of Byzantine Gold Perikarpia from Thessaloniki

by ArchaeologyArtByzantine ArtByzantine JewelryByzantiumJewelryMedieval ArtPowerpoints
Pair of Wristbands with Birds and Palmettes, made in Constantinople, 800s–900s. Gold with granulated decoration and enamel, Height 7 cm and Diameter 8.6×6.6 cm, Museum of Byzantine Culture, Thessaloniki, Greece
http://vizantinaistorika.blogspot.com/2014/03/blog-post_19.html

In Byzantine culture, bejewelled perikarpia (wristbands) played a dual role, both as functional accessories and symbols of status and protection. They were often worn by emperors, officials, and high-ranking clergy, and were intricately designed with luxurious materials such as precious metals, silk, gold thread, and precious stones. Their aesthetic value lay in the detailed craftsmanship, often reflecting religious and imperial motifs, serving as a visual display of wealth, piety, and power. Additionally, the ornate patterns and vibrant colours used in perikarpia added to the elegance of Byzantine attire, contributing to the overall grandeur of the empire’s visual culture. Today we will focus on a Pair of Byzantine Gold Perikarpia from Thessaloniki that exhibits exceptional beauty!

By asking questions starting with ‘who,’ ‘why,’ ‘when,’ and ‘where’ about the Byzantine Perikarpia from Thessaloniki at the city’s Museum of Byzantine Culture, we can explore the artworks’ historical context, artistic significance, and the story behind their creation.

Where exactly were the perikarpia found, and what does this location tell us about their significance? The perikarpia were discovered under Dodecanesou Street in Thessaloniki, buried about three feet underground. This area was once a busy urban center in Byzantine times, indicating that the wristbands may have belonged to a wealthy or high-status individual living in the city. The location suggests a strong connection to Thessaloniki’s past as a significant cultural and economic hub of the Byzantine Empire. The hiding of these treasure points to periods of conflict and invasion, particularly during the Saracen attack on the city in 904.

When were they crafted, and how does this fit into Byzantine history? The Byzantine perikarpia were likely crafted during the height of the Byzantine Empire, possibly between the 9th and 10th centuries, based on their artistic style and the period of the Saracen attack on Thessaloniki in 904. This timeframe fits into a period of Byzantine wealth, artistic flourishing, and political challenges, marked by external threats and invasions. The use of gold and enamel on these wristbands reflects the luxurious craftsmanship typical of the empire’s elite, illustrating the fusion of religious symbolism and imperial power in Byzantine art.

Who might have owned or worn these wristbands, and what social or religious role did they play? The perikarpia were likely owned by a wealthy individual or someone of high status, possibly an aristocrat or merchant in Thessaloniki. Given their luxurious design and use of precious materials like gold and enamel, they may have also been worn by someone with religious or imperial connections. In Byzantine society, such items were not only decorative but also served as symbols of wealth, piety, and social rank, possibly even offering spiritual protection. Their burial suggests the owner sought to protect valuable possessions during times of conflict or instability.

Why were they buried twice, and what does their discovery reveal about the history of Thessaloniki during these periods? The perikarpia were buried twice—first during the Saracen attack on Thessaloniki in 904 to protect them from being looted, and then later, possibly in the 1600s, by a wealthy merchant. The double burial reflects the repeated cycles of instability in Thessaloniki’s history, as it faced invasions and upheavals over centuries. Their discovery highlights the city’s historical significance as a center of wealth, commerce, and strategic importance, while also showcasing the lengths individuals went to safeguard valuable possessions during turbulent times.

For a PowerPoint on Byzantine Perikarpia, please… Check HERE!

Bibliography: https://media.ems.gr/ekdoseis/makedonika/makedonika_07/ekd_pemk_07_petsas_2.pdf https://ejournals.epublishing.ekt.gr/index.php/deltion/article/view/4427/4203 σελ 59 Στυλιανός Πελεκανίδης, Τα χρυσά βυζαντινά νομίσματα της Θεσσαλονίκης, Δελτίον XAE 1 (1959), Περίοδος Δ’. Στη μνήμη του ΝίκουΒέη (1883-1958), ΑΘΗΝΑ  1960, Σελ. 55-71, https://www.mbp.gr/sites/default/files/styles/object_images/public/4mikrotexnia.jpg?itok=9xIJgEtP, Dr. Alicia Walker, “Wearable art in Byzantium,” in Smarthistory, July 30, 2021, accessed September 12, 2024, https://smarthistory.org/wearable-art-byzantium/ and https://blogs.getty.edu/iris/uncovering-the-history-of-a-long-buried-byzantine-treasure/

Grandma Moses’ The Old Oaken Bucket in 1800

by 20th century ArtAmerican ArtArtPowerpoints
Anna Mary Robertson ‘Grandma’ Moses, American Artist, 1860-1961
The Old Oaken Bucket in 1800, 1943, Oil on Masonite, 61 x 71.1 cm, Private Collection https://www.christies.com/en/lot/lot-6286877

A fitting poem to complement Grandma Moses’ The Old Oaken Bucket in 1800 would be The Old Oaken Bucket by Samuel Woodworth. Written in 1817, this famous poem captures a deep nostalgia for the past and rural simplicity, much like Moses’ painting… How dear to this heart are the scenes of my childhood, / When fond recollection presents them to view! / The orchard, the meadow, the deep-tangled wildwood, / And every loved spot which my infancy knew. / The wide-spreading pond, and the mill that stood by it, / The bridge, and the rock where the cataract fell; / The cot of my father, the dairy-house nigh it, / And e’en the rude bucket which hung in the well— / The old oaken bucket, the iron-bound bucket, / The moss-covered bucket, which hung in the well. This artwork, painted on November 1, 1943, with its focus on cherished memories of rural life, welcomes November with gusto! https://digitalcommons.conncoll.edu/sheetmusic/1149/

Anna Mary Robertson Moses, known affectionately as ‘Grandma Moses,’ was an iconic American folk artist who was celebrated for her charming depictions of rural life. Born on September 7, 1860, in Greenwich, New York, Moses lived a humble life, spending much of her early years working on farms and tending to household duties. She did not begin painting until her late 70s after arthritis made it difficult for her to continue with her embroidery hobby. Her artistic journey began as a pastime but quickly evolved into a remarkable second career that brought her widespread acclaim. Despite having no formal art training, her work resonated with both art critics and the general public, capturing a sense of nostalgia for a simpler, agrarian America.

Grandma Moses’ art is characterized by its naïve style, where traditional perspective and proportion are often disregarded in favour of narrative and emotional impact. Her paintings typically depict scenes of everyday rural life, from seasonal activities like harvesting and sleigh rides to community gatherings and holiday festivities. The vibrancy of her colour palette, combined with her attention to detail in illustrating nature and people, gives her works a sense of warmth and accessibility. These qualities resonated deeply with viewers, especially during the post-World War II era when her idyllic portrayals of country life evoked a longing for peace and simplicity.

The artist’s painting The Old Oaken Bucket in 1800 captures a nostalgic and idyllic scene of rural life, reflecting the simplicity and charm of 19th-century American farm life. The painting, like many of Moses’ works, features a detailed landscape, with rolling green hills, farmhouses, and trees surrounding a central focal point: a small, rustic well with an old oaken bucket. The scene is alive with activity, showing farmers tending to animals, children playing, and people engaging in daily chores, all set against the backdrop of a bright, clear sky. Moses uses vivid, cheerful colours, particularly greens and browns, which give the landscape a lively yet peaceful feeling. Her emphasis on nature and human interaction speaks to the harmonious relationship between people and their environment.

What stands out in The Old Oaken Bucket in 1800 is Moses’ ability to evoke a deep sense of nostalgia through her simple, folk-art style. The painting doesn’t follow the rules of traditional perspective but instead offers a flattened, almost decorative approach to composition. Despite this, there is a strong narrative element to the work, as it invites viewers into the everyday lives of rural inhabitants. The painting’s central motif, the old oaken bucket, symbolizes a connection to the past and to simpler times, suggesting the importance of tradition and memory. Through this piece, Moses communicates a longing for the past and the enduring beauty of rural, community-centered life.

For a PowerPoint Presentation inspired by Grandma Moses’ The Old Oaken Bucket in 1800, please… Check HERE!

Bibliography: https://www.christies.com/en/lot/lot-6286877 and https://americanart.si.edu/artist/grandma-moses-5826 and https://benningtonmuseum.org/portfolio-items/grandma-moses/

Stukas returning from their mission at Crete

by 20th century ArtArtPowerpoints
Hans Liska, Austrian Artist, 1907-1984
Sketchbook by Hans Liska, 1942-43, published in 2 albums by the house of Carl Werner in Reichenbach, and sponsored by Junkers Flugzeug und Motorenwerke AG, with sketches and colour illustrations by the artist
Stukas returning from their mission at Crete in the first light of the rising sun, the Parthenon in the background, 1942-43, circa 20×30 cm, Private Collection
https://www.allworldwars.com/World%20War%20II%20Sketches%20By%20Hans%20Liska.html

Hans Liska’s watercolour ‘Stukas Returning from Their Mission at Crete in the First Light of the Rising Sun, the Parthenon in the Background’ exemplifies his role as a German WWII propaganda artist, combining the grandeur of ancient Greece with the military might of German Stuka bombers. The painting portrays the planes soaring past the Parthenon at dawn, symbolizing both cultural heritage and wartime power. Yet, while the Stukas embody fleeting military force, the Parthenon stands as a timeless monument to ideals of culture, democracy, and human creativity – qualities that far outlast the shadows of war. Is the scene effectively captured in my Haiku poem… ‘Morning sun ascends, / Stukas soar past Parthenon stones, / Shadows brush the sky…’

Hans Liska (1907–1983) was a highly regarded Austrian artist and illustrator, recognized for his exceptional ability to depict dynamic scenes with meticulous detail. Born in Vienna, he studied at the prestigious Akademie der bildenden Künste, where he developed a solid foundation in classical art techniques, including the use of line, shading, and perspective. Early in his career, Liska worked as a commercial illustrator, contributing to various advertising campaigns and publications. His early illustrations reflected a keen understanding of movement and energy, which would later become central themes in his most famous works. His versatility as an artist allowed him to master both static compositions and those bursting with action, making him an ideal fit for the fast-paced and visually compelling world of commercial art.

During World War II, Liska’s talents were recognized by the German military, and he was appointed as an official war artist for the Wehrmacht. In this role, he was deployed to various battlefronts, where he sketched and painted vivid scenes of combat and military life. His wartime work captured the intensity of battle, portraying soldiers in dramatic, often heroic, poses. Many of these illustrations were published in Nazi propaganda outlets such as Signal, a widely circulated military magazine. These works were intended to glorify the German war effort and morale, making them powerful tools of propaganda. Despite the ideological connotations of these illustrations, they remain a testament to Liska’s technical skill in conveying motion, emotion, and atmosphere in his art. His ability to illustrate human experiences during the war made him an important figure among World War II artists, though his works were often politically charged.

After the war, Liska successfully transitioned to the commercial sphere, distancing himself from his wartime associations. He became particularly renowned for his work with Mercedes-Benz, for whom he produced numerous illustrations and advertisements. His post-war art retained the fluid lines, dramatic contrasts, and sense of movement that characterized his earlier works, but now applied to more peaceful subjects, such as travel, high-end automobiles, and urban life. Liska’s skill in depicting speed and elegance made his automotive illustrations iconic within the advertising industry. Over time, his work became widely admired by both art collectors and automotive enthusiasts, cementing his legacy as one of the leading commercial illustrators of the 20th century. Today, Liska’s illustrations are valued not only for their artistic quality but also as historical artefacts that reflect the cultural and industrial landscape of mid-20th century Europe.

For a PowerPoint Presentation inspired by Hans Liska’s watercolour Stukas returning from their mission at Crete, please… Check HERE!

Saint Demetrios in prayer position with Patrons

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

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

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

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

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

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

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

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

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

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

For a Student Activity, please… Check HERE!

Fruit Still Life with Chinese Export Basket

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

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

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

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

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

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

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

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

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

Adam’s Statue by Tullio Lombardo

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

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

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

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

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

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

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

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

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

The ‘Council of the Gods’ by Rubens and Renoir

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

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

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

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

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

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

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

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

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

For Student Activities, please… Check HERE!

Talos the ancient Greek automaton

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

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

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

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

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

What is the specific decoration of the Talos Vase?

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

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

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

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

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

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

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

‘October’ Stained Glass Roundel

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

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

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

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

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

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

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

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