The Figure of Eight Shield

by Ancient Greek ArtArchaeologyArtBronze Age ArtEducationGreek ArtMycenaean ArtPowerpointsSocial Studies
Wall painting depicting the Figure of Eight Shield,
Fresco from the Cult Center of the Acropolis
of Mycenae, 1250-1180 BC, National Archaeological Museum
of Athens, Greece https://commons.wikimedia.org/wiki/File:Mycenaean_mural_
depicting_a_shield_at_the_National_Archaeological_Museum_of_Athens_on_October_26,_2021.jpg

The Figure of Eight Shield is a distinctive type of shield originating in the Aegean region, particularly prominent during the Late Bronze Age. Its unique design, resembling the number ‘8’, featured a curving outline that provided comprehensive protection while allowing for ease of movement. Typically constructed from a wooden frame, it was reinforced with layers of leather or metal to enhance durability and resistance in combat. This shield is closely associated with the warrior culture of Mycenaean Greece and is frequently depicted in frescoes and artifacts from that period, symbolizing both practicality and status in the martial practices of the time.

Let me present you with ’10 Facts’ about the amazing Figure of Eight Mycenaean Shields!

Unique Shape: The ‘Figure of Eight’ shield was shaped like two large, connected ovals, creating a narrow waist-like middle. This design not only made it visually distinctive but also allowed for a balance between size and ease of handling.

Large Size: These shields were massive, often covering a soldier from head to toe, providing extensive body protection. Their size was advantageous in phalanx formations or defensive stances but made them cumbersome in fast, mobile combat.

Construction Materials: The construction of the ‘Figure of Eight’ shields reflects the technological ingenuity of the Mycenaeans. The core of the shield was typically a wooden frame, chosen for its balance of strength and lightness, allowing the shield to remain functional despite its large size. The wooden frame was then covered with multiple layers of tightly stretched cowhide, often up to several layers thick, which added durability and the ability to absorb impact from weapons like spears and arrows. To further enhance their strength, some shields were reinforced with bronze fittings or edging. These metal elements made the shields more resistant to slashing or piercing blows, ensuring they could withstand the demands of battle. Additionally, the cowhide was sometimes treated with oils or other substances to make it more durable and less susceptible to wear from environmental factors like moisture. These materials worked in harmony to produce a shield that was both protective and flexible, suited for the needs of Mycenaean warriors in close combat or defensive formations.

Mycenaean warrior, complete with Boar’s Tusk Helmet and the Figure of Eight Shield, ca. 13th Century BC, Ivory, Archaeological Museum, Delos, Greece https://twitter.com/DocCrom/status/1264518112386396160
Mycenaean Dagger Blade with Hunters attacking Lions, c. 1,600-1,500 BC, inlaid in gold, silver and niello, National Archaeological Museum of Athens, Greece https://archeology.dalatcamping.net/the-bronze-legacy-unveiling-the-artistry-of-mycenaean-daggers/

Artistic Depictions: Artistic depictions of the ‘Figure of Eight’ shields are found in various media, including frescoes, pottery, and engraved seals, offering valuable insights into their role in Mycenaean and Minoan societies. Frescoes from palatial sites like Knossos and Tiryns often show warriors wielding these shields, emphasizing their importance in both warfare and ceremonial contexts. Seal engravings, frequently detailed and symbolic, also depict the shields, suggesting their association with elite status or divine protection. Such representations indicate that the shields were not just practical tools for defense but also symbols of power, prestige, and cultural identity in the Late Bronze Age.

Use in Warfare: The shield was designed for full-body protection, particularly in close combat or during sieges. Its large size made it especially effective against projectile weapons, though it required significant strength to wield.

Ceremonial and Symbolic Roles: These shields were likely used in rituals or as symbols of power, as seen in artistic representations. Their association with elite warriors or deities underscores their importance beyond mere battlefield use.

Origins and Chronology: The ‘Figure of Eight’ shield originated in the Late Bronze Age, around 1600 BCE, and was likely influenced by earlier Minoan designs. It fell out of use by the end of the Bronze Age as combat tactics evolved.

Flexibility and Mobility: The narrow middle of the shield allowed soldiers to maneuver it more easily despite its large size. This feature improved mobility in combat, making it versatile for both offense and defense.

Decline in Use: By the 12th century BCE, the ‘Figure of Eight’ shield was replaced by smaller, lighter designs like circular or tower shields. This change reflected the increasing importance of agility and individual mobility in warfare.

Connection to Homeric Epics: Homer’s descriptions of large shields, though generally round, may have been inspired by earlier designs like the ‘Figure of Eight.’ These shields serve as a link between Mycenaean warfare and later Greek military traditions.

For a PowerPoint on Student Activities inspired by the Mycenaean Shields, please… Check HERE!

Cropsey’s Winter Evening in the Country

by 19th century ArtAmerican ArtArtPowerpointsRomanticism
Jasper Francis Cropsey, American Artist, 1823-1900
Winter Evening in the Country, 1865, Oil on Canvas, 61 x 102.2 cm, Private Collection https://www.christies.com/en/lot/lot-6519595?ldp_breadcrumb=back#lot-essay

Jasper Francis Cropsey’s Winter Evening in the Country captures the serene stillness and frosty charm of a rural landscape wrapped in winter’s embrace, evoking the timeless imagery of Christina Rossetti’s poignant verse… In the bleak midwinter, frosty wind made moan, / Earth stood hard as iron, water like a stone; / Snow had fallen, snow on snow, snow on snow, / In the bleak midwinter, long ago… Cropsey, a master of the Hudson River School, imbues the scene with a poetic tranquility that mirrors Rossetti’s reflection on the stark beauty and quiet solemnity of winter. The painting’s soft, fading light against the glistening snow and frozen streams resonates with the deep reverence for nature and its cyclical rhythms, so beloved by 19th-century American Romanticism. Viewed through this lens, Winter Evening in the Country becomes not just a landscape, but a visual hymn to the season’s austere grace, much like Rossetti’s enduring words. https://www.poetryfoundation.org/poems/53216/in-the-bleak-midwinter

Jasper Francis Cropsey (1823–1900) was a celebrated American painter and architect, best known for his vivid and romantic depictions of the American landscape, particularly during autumn. Born in Staten Island, New York, Cropsey initially trained as an architect but soon turned to painting, inspired by the natural beauty of his surroundings. He became associated with the Hudson River School, a group of artists who celebrated the grandeur of America’s untamed wilderness. Cropsey’s artistic career flourished in both the United States and Europe, with his work frequently exhibited at prestigious institutions like the Royal Academy in London. Deeply rooted in a transcendental appreciation of nature, his art also carried patriotic undertones, reflecting an idealized vision of America’s expanding frontier during the 19th century.

The aesthetics of Cropsey’s oeuvre are characterized by a meticulous attention to detail, luminous colour palettes, and a romantic interplay of light and atmosphere. He had a particular affinity for autumnal landscapes, often portraying scenes with radiant foliage, expansive skies, and tranquil waterways, which became hallmarks of his style. Cropsey’s ability to balance naturalistic detail with an almost spiritual grandeur imbued his works with a sense of awe and serenity. His paintings often celebrate not only the beauty of nature but also its capacity to evoke contemplation and reverence. By blending realism with idealism, Cropsey’s art encapsulates the optimism and nationalism of the Hudson River School while inviting viewers into a profound communion with the natural world.

Jasper Francis Cropsey’s Winter Evening in the Country is a serene and evocative portrayal of a rural landscape enveloped in the stillness of winter. The painting captures a quiet countryside blanketed in snow, illuminated by the soft, fading light of dusk. Cropsey’s meticulous attention to detail is evident in the delicate rendering of the leafless trees, the snow-laden rooftops, and the icy stream that meanders through the composition. The warm glow emanating from the windows of the farmhouse contrasts gently with the cool blues and grays of the surrounding snow, creating a harmonious balance between warmth and chill. This idyllic scene reflects Cropsey’s mastery of light and atmosphere, drawing the viewer into a tranquil moment of reflection on the beauty of nature.

Jasper Francis Cropsey, American Artist, 1823-1900
Winter Evening in the Country (detail), 1865, Oil on Canvas, 61 x 102.2 cm, Private Collection https://www.christies.com/en/lot/lot-6519595?ldp_breadcrumb=back#lot-essay

Created during the aftermath of the American Civil War, Winter Evening in the Country subtly reflects the cultural and emotional climate of the time. The painting’s peaceful rural setting can be seen as a nostalgic yearning for unity and stability in the face of the nation’s recent turmoil. Amid the tranquil scene, a boy dressed as a Union soldier and carrying a rifle, is a poignant reminder of the war’s enduring presence in the collective memory of Americans. His inclusion in the idyllic landscape juxtaposes the serenity of the countryside with the lingering echoes of conflict. The untouched snow and the quiet countryside symbolize renewal and healing, suggesting a return to simplicity and the enduring strength of the American spirit. Cropsey’s choice to focus on the enduring beauty of the land, while subtly acknowledging the sacrifices of those who fought, underscores the Hudson River School’s broader mission to celebrate the natural world as a source of solace and hope. In this way, the painting becomes more than a pastoral winter scene; it is a quiet testament to resilience and optimism in the wake of national strife.

For a PowerPoint Presentation on Jasper Francis Cropsey’s Oeuvre, please… Check HERE!

Bibliography:https://www.nga.gov/collection/artist-info.1191.html

The Portrait of Mäda Primavesi

by 20th century ArtArtArt NouveauPowerpoints
Gustav Klimt, Austrian Artist, 1862-1918
Mäda Primavesi, 1912–13, Oil on Canvas, 149.9 x 110.5 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/436819

The Portrait of Mäda Primavesi, the subject of Klimt’s painting currently in the MET, presents the lively nine-year-old daughter of a wealthy Viennese family of art patrons. Mäda’s parents, Otto and Eugenia Primavesi, were supporters of Gustav Klimt, and this portrait reflects their taste for Vienna Secession-style art, known for bold colours and expressive design. Mäda, wearing a white, aethereal dress, is depicted with an air of confidence and poise. Set against a colourful background, the portrait highlights Klimt’s skill in capturing the personality and vivacity of his young sitter.

The Primavesi family, especially Otto Primavesi, were prominent patrons of Gustav Klimt and the Wiener Werkstätte, an influential Viennese art collective that merged fine and decorative arts. Otto, a wealthy banker and industrialist, provided substantial financial support to the Werkstätte, ensuring its continuity after the departure of Fritz Waerndorfer, the group’s initial backer. This partnership allowed Klimt and other avant-garde artists to create some of their best-known works under more stable conditions. Klimt painted portraits of both Otto’s wife, Eugenia, an actress, and their daughter, Mäda, whose youthful confidence and vibrant attire convey a sense of strength and individuality rare in Klimt’s other portraits of the time. We went every few months to Vienna and stayed about 10 days, Miss Primavesi said to Rita Reif of the New York Times, of the trips she made with her mother while the portraits were in progress. I was a little girl, and Professor Klimt was awfully kind. When I became impatient, he would just say, ‘Sit for a few minutes longer.’ He made at least 200 sketches. https://www.nytimes.com/1987/05/09/arts/lost-klimt-to-be-sold-in-auction.html

Mäda Primavesi, 1912, https://arthur.io/art/gustav-klimt/maeda-primavesi/1 and Otto and Eugenia Primavesi, https://www.klimt-database.com/en/network-vienna-1900/benefactors/the-primavesi-family/

After early financial setbacks, young Mäda’s portrait was sold in the 1930s and is now at the Metropolitan Museum of Art. For many years she did not know the whereabouts of her portrait. She had not seen it since it was sold in 1931 or 1932, until 1986, when she visited the Metropolitan Museum to view it. I asked Professor Klimt if he would write something in my book, she said in her interview of the autograph book she kept as a child and he wrote: The day is like night unless I see you. I am happier if I dream about you. Mäda, the daughter who never got married, moved to Canada in 1949, founded a convalescent hospital for children and dedicated 25 years to it before retiring.

Mäda Primavesi (1903-2000) in front of the painting Klimt made of her in 1912. The picture was taken in 1987 at the MET, ΝΥ https://www.facebook.com/photo/?fbid=4445217715535198&set=a.3608453115878333

Gustav Klimt’s Portrait of Mäda Primavesi exemplifies his shift from the ornate, gilded style of his Golden Phase to a more colourful, patterned aesthetic, influenced by modernist trends. It captures the spirited individuality of its young subject, painted when she was just nine years old. Unlike his typical female portraits, Klimt adopts an unconventional pose for Mäda: she stands squarely facing the viewer, her legs apart and arms folded behind her back, exuding a self-confidence and modernity that defy traditional depictions of children. Her serious yet engaging gaze reinforces her strong character, suggesting a collaborative process between artist and subject to capture her personality authentically. Mäda’s white dress, designed by Emilie Flöge, is simple and youthful, yet Klimt’s addition of a vivid rose motif at the chest height lends it a touch of his signature decorative flair. This interplay of youthful innocence and bold individuality situates the portrait firmly in the avant-garde aesthetic of the Vienna Secession.

The setting further enhances the portrait’s charm, with Mäda positioned against a lilac wall adorned with flowers and standing on a green carpet featuring red floral patterns and playful, stylized figures inspired by East Asian art. This vibrant and whimsical backdrop complements the liveliness of the composition, echoing Klimt’s admiration for decorative arts and his interest in integrating elements of his subjects’ lives into his work. The Primavesi family’s connection to Klimt and his artistic circle, including Josef Hoffmann and the Wiener Werkstätte, reflects their commitment to the innovative art and design of the time. The result is a portrait that transcends conventional child portraiture, embodying both the individuality of the sitter and the modern artistic ethos of early 20th-century Vienna.

Gustav Klimt, Austrian Artist, 1862-1918
Mäda Primavesi (detail), 1912–13, Oil on Canvas, 149.9 x 110.5 cm, the MET, NY, USA https://br.pinterest.com/pin/566609196877174726/

This portrait also reflects the changing role of portraiture in early 20th-century art, moving beyond mere representation to convey mood and personality. Mada’s posture—relaxed but commanding—suggests her self-assurance and status, while the painting’s vibrant palette and intricate design evoke a world of luxury and artistic modernity. Klimt’s sensitivity to texture is evident in the soft rendering of Mada’s skin and the striking visual rhythm created by her clothing, which echo the decorative innovations of the Vienna Secession movement. The Portrait of Mada Primavesi stands as a testament to Klimt’s ability to celebrate individuality while merging it seamlessly with his iconic decorative style.

For a PowerPoint Presentation titled 18 Portraits by Gustav Klimt, please… Check HERE!

Luigi Bazzani’s Watercolours of Pompeii

by 19th century ArtArchaeologyArtPowerpoints
Luigi Bazzani, Italian Artist, 1836–1927
A fountain in Pompeii (House of the Large Fountain, Pompeii), 1888, Watercolour on Paper, 46.35x 35.56 cm, Victoria and Albert Museum, London, UK https://collections.vam.ac.uk/item/O406355/painting-of-pompeii-drawing-luigi-bazzani/#object-details

I’m not sure if you enjoy Japanese Haiku, those three-line, 17-syllable poems, but as I gaze at Luigi Bazzani’s Watercolours of Pompeii in the Victoria and Albert Museum, I’m reminded of the Haiku games I once shared with my students. And with that, a new Haiku unfolds… Ancient stones speak soft, / Bazzani’s brush finds their voice, / Pompeii breathes anew.

Luigi Bazzani (1836–1927) was an Italian painter and architect born in Bologna. A master of both watercolors and detailed architectural renderings, Bazzani initially trained in the fine arts at the Accademia di Belle Arti in Bologna. His early works were primarily focused on landscapes and genre scenes, but he soon became captivated by ancient Roman architecture and archaeological subjects, which shaped his career. By the mid-19th century, he had joined a circle of artists, archaeologists, and scholars based in Rome, where he further refined his skills in portraying architectural details with exceptional precision. This passion led Bazzani to work extensively in archaeological illustration, making him a key figure in documenting Italy’s historical sites.

Bazzani’s work took on new significance when he became actively involved in the excavation and study of Pompeii. At the time, the archaeological site was undergoing one of its most intensive periods of excavation, and Bazzani’s watercolors played a vital role in visually recording the ruins before further deterioration. His paintings, known for their remarkable detail, accuracy, and fidelity to the textures of ancient stonework, served both scientific and artistic purposes. His ability to evoke the atmosphere of ancient Pompeii made him a celebrated artist among scholars and art lovers alike, particularly as his work bridged the realms of historical documentation and creative expression. Through his paintings, Bazzani preserved not just the structures of Pompeii but also conveyed a sense of the city’s former life and vibrancy.

Luigi Bazzani, Italian Artist, 1836–1927
A fountain in Pompeii (House of the Large Fountain, Pompeii), 1888, Watercolour on Paper, 46.35x 35.56 cm, Victoria and Albert Museum, London, UK https://collections.vam.ac.uk/item/O406355/painting-of-pompeii-drawing-luigi-bazzani/#object-details
House of the Large Fountain, 2nd century BC to 1st century AD, Pompeii (Regio VI   Insula 8.22), Italy
https://www.planetpompeii.com/en/map/the-house-of-large-fountain/524-the-house-of-large-fountain.html

His artistic approach combined meticulous attention to detail with a romantic sensibility that brought depth and emotion to his portrayals of Pompeii. His use of watercolor allowed him to capture the luminous quality of Mediterranean light, which he skillfully balanced with shadow and contrast to convey the depth and scale of ancient architecture. Bazzani’s works are characterized by an almost photographic realism, yet they go beyond mere documentation, subtly imbuing his subjects with a sense of nostalgia for a lost world. His brushwork reveals an intimate knowledge of architectural form and materials, while his ability to evoke atmospheric conditions gives his scenes a timeless, almost haunting beauty. Through Bazzani’s artistry, the viewer not only sees Pompeii’s ruins but also senses the city’s enduring spirit.

The Victoria and Albert Museum houses a notable collection of Luigi Bazzani’s watercolors depicting the ancient site of Pompeii, showcasing his unparalleled skill in capturing the ruins with both accuracy and artistic flair. These works offer a vivid glimpse into the archaeological site during the late 19th and early 20th centuries, a period of intense excavation and exploration. Bazzani’s watercolors at the V&A highlight his meticulous attention to architectural detail and his ability to evoke the atmosphere of the ancient city, from crumbling walls to the intricate textures of stone and frescoes. Through these works, the museum preserves not only a historical record of Pompeii’s ruins but also an artistic interpretation of the past, allowing viewers to experience the city as it once stood—alive with the vibrancy of Roman life, even as it faced the inexorable passage of time.

The Louigi Bazzani watercolour painting of a Pompeiian Fountain within a highly decorated alcove, is a wonderful reconstruction of the Mosaic Fountain discovered in the Pompeiian House of the Large Fountain. The Pompeiian Houseis discussed… https://www.teachercurator.com/ancient-roman-villas/house-of-the-large-fountain/

For a PowerPoint on Luigi Bazzani’s Pompeian oeuvre, please… Click HERE!

Bibliography: https://collections.vam.ac.uk/search/?id_person=AUTH347957&page=1&page_size=15

Bernardino Luini’s the Madonna of the Carnation

by 16th century ArtArtItalian Renaissance ArtPowerpointsRenaissanceRenaissance Art
Bernardino Luini, c. 1480 – 1532
The Madonna of the Carnation, c. 1515, Oil on Panel, 43.8 x 40.3 cm, The National Gallery, Washington DC, USA https://www.nga.gov/collection/art-object-page.293.html

In Bernardino Luini’s the Madonna of the Carnation, the humble carnation flower plays a significant symbolic role, quietly enhancing the tender connection between mother and child. Painted during the Renaissance, this work captures the Jesus holding a carnation, a bloom historically associated with love, purity, and spiritual devotion. The carnation’s presence in Christian iconography extends beyond mere decoration; it reflects the deep, enduring love between Mary and Christ. Known for its resilience and modest beauty, the carnation was often used in religious art to symbolize faith and divine love, aligning beautifully with Mary’s role as a symbol of compassion and steadfast devotion. Through Luini’s detailed rendering, this simple flower transforms into a powerful emblem, inviting viewers to see carnations as more than just vibrant blooms but as timeless representations of love and spiritual purity.

As we embark on our journey through 2025, we’ll celebrate each month’s arrival with a flower, beautifully depicted in an artwork that captures its essence, symbolism, and historical significance. We’ll delve into the stories behind the chosen flower, exploring how it has inspired artists throughout the ages, expressed profound emotions, and represented the spirit of its season. This initiative is more than just a tribute to flowers; it serves as a personal invitation to pause each month and appreciate the harmonious relationship between nature and art. Join us as we uncover how artists have woven the language of flowers into their work, using them to convey themes of love, purity, resilience, and more, allowing us to experience the beauty of each month in a fresh and vibrant way.

With a rich history dating back over two millennia, carnations are imbued with deep meaning and symbolism, making them a beloved choice for various celebrations. As the flower of the month for January, their delicate fragrance and vibrant spectrum of colours not only captivate the senses but also ensure that carnations remain a cherished floral selection for events such as weddings and birthdays.

Carnations, one of the oldest cultivated flowers in the world, have a fascinating origin that dates back to Ancient Greek and Roman times, where they were first documented by Theophrastus, an early botanist. Primarily grown in Europe and Asia, these beloved blooms were celebrated for their use in art, decor, wreaths, and perfumes, while also offering notable health benefits; for instance, brewing carnation tea was a common remedy for stress, boosting energy levels and alleviating ailments like stomach aches and fevers.

The name ‘carnation’ has various theories behind it, with some believing it stems from the word ‘coronation’ due to its presence in Greek ceremonial crowns, while others suggest it derives from the Latin word ‘carnis,’ meaning flesh, as early carnations were predominantly pink. However, the scientific name, Dianthus caryophyllus, is rooted in Greek mythology, with ‘dianthus coming from ‘dios, meaning Zeus, and ‘anthos,’ meaning flower, further solidifying carnations’ status as the ‘flower of the gods.’

Carnations carry rich symbolism across various cultures, embodying deep meanings that make them a cherished flower for many occasions. They represent devotion, making them an ideal choice for weddings, as they signify the commitment and loyalty shared between partners; this symbolism has been reflected in the works of Renaissance artists who often depicted carnations in engagement scenes. Additionally, carnations symbolize love, whether familial, romantic, or platonic, making them a thoughtful gift for celebrations like birthdays, or anniversaries. Their unique shape and vibrant colours also convey a sense of distinction, allowing them to stand out beautifully in any bouquet. Lastly, the captivating appearance of carnations evokes a sense of fascination, having inspired poets, artists, and musicians throughout history; receiving a bouquet of these delightful blooms suggests that the giver finds you equally intriguing.

Bernardino Luini was an Italian Renaissance painter, renowned for his refined, graceful works that reflected the influence of Leonardo da Vinci, whom he likely studied under. Born in Dumenza near Lake Maggiore, Luini moved to Milan, where he spent much of his career and created many religious frescoes and altarpieces. His style is characterized by delicate, serene expressions and a soft, harmonious colour palette, with works often portraying religious subjects imbued with a gentle spirituality. Luini’s frescoes in Milan’s Church of San Maurizio al Monastero Maggiore are among his most celebrated works, displaying his mastery of composition and his distinctively soft, Leonardesque figures. Though he was less famous than some of his contemporaries, Luini’s works have gained appreciation for their subtle beauty and enduring charm.

Bernardino Luini’s Madonna of the Carnation depicts the Virgin Mary with the infant Christ seated on her lap, tenderly reaching for a carnation in a nearby pot. Though it appears a simple, everyday gesture, the carnation in Renaissance art held deep symbolism—often representing the Crucifixion or Mary’s pure love. In this delicate moment, Luini subtly hints at Christ’s future sacrifice, while Mary’s thoughtful, almost wistful gaze reflects her awareness of this foreshadowed path. Luini’s painting resonates with the influence of Leonardo da Vinci, evident in its soft forms, rich chiaroscuro, and the tender expressiveness of the figures. The dark background and the gentle play of light and shadow create an intimate, almost ethereal atmosphere, capturing a poignant connection between mother and child.

For a PowerPoint presentation of Bernardino Luini’s oeuvre, please… Check HERE!

Bibliography: https://www.bloomandwild.com/the-blog/the-symbolism-and-colour-meaning-of-carnations and https://www.nga.gov/collection/art-object-page.293.html

Tomb of the Leopards

by ArchaeologyArtEtruscan ArtPowerpoints
Etruscan Tomb of the Leopards, 473 BC, Tomb is decorated with fresco paintings, and measures: 3.52 x 3.3 x 2.16 in height, Monterozzi Necropolis, Tarquinia, Italy https://en.wikipedia.org/wiki/Tomb_of_the_Leopards#/media/File:Danseurs_et_musiciens,_
tombe_des_l%C3%A9opards.jpg

The walls of this little tomb, the Tomb of the Leopards, are a dance of real delight. The room seems inhabited still by Etruscans of the sixth century before Christ, a vivid, life-accepting people, who must have lived with real fullness. On come the dancers and the music-players, moving in a broad frieze towards the front wall of the tomb, the wall facing us as we enter from the dark stairs, and where the banquet is going on in all its glory…all is colour,‘ wrote D.H. Lawrence in the 1920s in his travel essays Sketches of Etruscan Places, and we do not seem to be underground at all, but in some gay chamber of the past. https://en.wikipedia.org/wiki/Tomb_of_the_Leopards  and https://creatureandcreator.ca/?tag=tomb-of-the-leopards&print=print-search

Let’s explore the ‘where’, ‘when”, ‘how’, and ‘what’ of this amazing Etruscan Tomb by posing some questions!

Where is the Tomb of the Leopards located? It is located in the Necropolis of Monterozzi, near the ancient city of Tarquinia in central Italy, about 90 kilometers northwest of Rome. The Necropolis, a UNESCO World Heritage site, contains more than 6,000 tombs, with over 200 of them featuring elaborate wall paintings. The Tomb is one of the most famous tombs in this burial complex. Situated on a hill, the site offers a panoramic view of the surrounding area, reflecting the importance of Tarquinia as a major center of Etruscan civilization.

When was the Etruscan Tomb created, and what does its time period reveal about Etruscan culture? The Tomb of the Leopards was created around 473 BC, during the height of Etruscan civilization. This time period reveals a society that was deeply influenced by Greek culture, evident in the style of the tomb’s frescoes, which feature lively banqueting scenes and depict an appreciation for luxury, social gatherings, and the afterlife. The artwork reflects the Etruscans’ belief in a joyous afterlife, where the deceased would continue to enjoy the pleasures of life. It also shows the importance of social status, as banquets were a symbol of wealth and power within Etruscan society.

How was it discovered? The tomb was discovered in 1875 during archaeological excavations. Its well-preserved wall paintings, depicting banqueting scenes and festive gatherings, provide valuable insight into Etruscan culture and funerary practices. The discovery of the tomb helped shed light on the artistic achievements and social customs of the Etruscans during the 5th century BC.

What are the architectural features of the Tomb of the Leopards, and how do they reflect Etruscan funerary practices? The Tomb of the Leopards features a rectangular plan with a vaulted ceiling supported by a double-pitched roof, which is a distinctive element of Etruscan tomb architecture. The walls are adorned with elaborate frescoes, while the overall layout is designed to resemble a domestic space, suggesting a connection between the afterlife and the living world. The use of a central burial chamber emphasizes the importance of the deceased, and the incorporation of benches along the walls for reclining figures mirrors the practice of banqueting, highlighting the Etruscans’ belief in the continuation of social customs beyond death. This architectural design reflects Etruscan funerary practices that celebrated life and the afterlife, creating a space that honours the deceased and facilitates their ongoing social interactions.

What is the interior decoration of the Tomb of the Leopards? The frescoes in the Tomb of the Leopards vividly depict Etruscan social life within a beautifully adorned interior featuring a double-pitched roof decorated with parallel rows of white, red, and green checkers, complemented by a central beam bordered with the same colors and adorned with red and green circles. On the right wall, a dancer clad in the traditional tebenna holds a cup while accompanied by two musicians, known as ‘The Three Musicians’; the central figure, in a yellow and blue dress, plays the aulòs, and the musician to his right, dressed in a red robe edged with green and yellow, strums a zither. This scene captures the cultural significance of music and dance in Etruscan society. The central wall, the tomb’s focal point, showcases a lavish banquet with three married couples reclining on twin beds, sipping wine, their heads adorned with myrtle wreaths. The men, with dark complexions and bare chests, contrast with the lighter-skinned women, two blondes and a brunette, elegantly dressed. Notably, the man on the far right holds an egg, symbolizing rebirth. Above this lively banquet, two imposing leopards with jaws wide open flank the scene, while olive trees enhance the naturalistic setting, reflecting Etruscan beliefs about life, social customs, and the joyous continuance of such gatherings in the afterlife.

How do the Tomb’s frescoes represent Etruscan beliefs about the afterlife and social customs? The frescoes in the Tomb represent Etruscan beliefs about the afterlife as a continuation of earthly pleasures, particularly social gatherings and banquets. The scenes of feasting, drinking, and music suggest that the afterlife was imagined as a joyful, celebratory experience where the deceased would partake in these activities alongside their peers. The presence of both men and women at the banquet reflects Etruscan social customs, where women had a more prominent role in public and social life compared to other ancient cultures. The inclusion of these vibrant scenes also indicates the importance of status, as banquets were reserved for the elite, underscoring the Etruscans’ emphasis on wealth and social standing in life and death.

What aesthetic values, such as the depiction of movement, symmetry, or colour, can be seen in the Tomb’s frescoes, and how do they reflect Etruscan attitudes toward life and death? The frescoes display key aesthetic values such as vibrant colour, fluid movement, and a balance of symmetry, all of which reflect Etruscan attitudes toward life and death. The figures are shown in dynamic poses, with expressive gestures that convey a sense of liveliness and celebration, suggesting a joyful approach to both life and the afterlife. The use of bright, bold colours, particularly reds, blues, and yellows, enhances the festive atmosphere and reflects the Etruscan belief in a vivid, pleasurable afterlife. Symmetry is also present in the composition, especially with the positioning of figures and the leopards flanking the scene, which creates a sense of harmony and order. Together, these aesthetic choices symbolize a continuity between the pleasures of earthly life and the joys of the afterlife, reflecting the Etruscan view that death was not an end, but a transition to another phase of existence.

For a PowerPoint on Etruscan Tombs and their fresco decoration, please… Check HERE!

Bibliography: https://tarquiniaturismo.com/tomb-of-the-leopards/?lang=en and https://tarquinia-cerveteri.it/en/tarquinia/necropolis-of-tarquinia/tomb-of-the-leopards/ and https://www.facebook.com/watch/?v=259193665622286 (video)

Saint in Prayer

by 19th century ArtArtPowerpointsSpanish Art
Joaquín Sorolla y Bastida, Spanish Artist, 1863-1923
Saint in Prayer, 1888 – 1889, Oil on Canvas, 78×61 cm, Prado Museum, Madrid, Spain https://www.museodelprado.es/en/the-collection/art-work/saint-in-prayer/992c8493-24c0-49ed-ac58-a4b690099b81

Joaquín Sorolla y Bastida is a favourite Spanish artist of the late 19th early 20th century art scene. Saint in Prayer is a small gem of a painting, I find particularly intriguing. The Prado Museum description of its composition sets the tone masterfully… The small, frail figure of the young saint is placed before a sumptuous geometrically decorated golden backdrop. Sorolla must have used templates to produce some of the decoration, particularly the small squares on the surface of the wall and the gold circles on the dress, although in other cases he uses his brush to achieve the same effect. Particularly attractive is the combination of different circular shapes: the gold halo, the circle around a border with plant and animal motifs, the little circles on the dress. All are inspired by decorative patterns typical of the High Middle Ages. https://www.museodelprado.es/en/the-collection/art-work/saint-in-prayer/992c8493-24c0-49ed-ac58-a4b690099b81

Born in Valencia in 1863, Joaquín Sorolla y Bastida showed an early talent for art, which led him to train at the Academy of San Carlos in his hometown. After completing his studies, he moved to Madrid, where he spent countless hours at the Museo del Prado, studying the works of great Spanish masters like Velázquez and El Greco. In 1885, a scholarship allowed him to study in Rome, deepening his exposure to classical art. He later spent time in Paris, where he encountered the emerging Impressionist movement, which influenced his focus on natural light and color. These experiences, combined with his Mediterranean roots, shaped his signature style, marked by vibrant depictions of sun-drenched beaches and lively scenes from everyday life.

Throughout his life, Sorolla explored a wide range of subjects, from portraits and landscapes to social themes, yet his hallmark was the interplay of natural light, and his ability to capture the luminosity of the Spanish coast as exemplified in his painting Boys on the Beach (Tacher Curator BLOG POST of July 26, 2024). Marked by success in international exhibitions, gaining recognition for his vivid, sunlit canvases and his vibrant brushwork, Sorolla became one of Spain’s most celebrated artists. https://www.teachercurator.com/art/boys-on-the-beach-by-joaquin-sorolla-y-bastida/

On the 8th of September 1888, in Valencia, Sorolla married Clotilde García del Castillo, his confidant, traveling companion, bookkeeper (or in his words, “my Treasury Minister”), and muse. Shortly after, along with his friend Juan Antonio’s sister, the couple travelled to Italy and spent a period in Assisi where Sorolla began to paint “genre scenes” to earn a living. https://www.metmuseum.org/art/collection/search/437706

Joaquín Sorolla y Bastida, Spanish Artist, 1863–1923
Señora de Sorolla in Black, 1906, Oil on Canvas, 186.7 x 118.7 cm, the MET, NY, USA https://commons.wikimedia.org/wiki/File:Se%C3%B1ora_de_Sorolla_
(Clotilde_Garc%C3%ADa_del_Castillo,_1865%E2%80%931929)_in_Black_MET_DP168810.jpg
Sorolla painting ‘Clotilde in a Black Dress’, 1905. Photograph by Christian Franzen © Museo Sorolla, Madrid, Spain
https://www.nationalgallery.org.uk/exhibitions/past/sorolla/what-you-need-to-know-about-sorolla

This period was pivotal in shaping Sorolla’s artistic development, as it introduced him to the Italian Renaissance masters. During this time, he concentrated on religious subjects, one notable example being Saint in Prayer (1889), now housed in the Museo del Prado. The painting reflects Sorolla’s sensitivity to spiritual themes, employing a soft, glowing light that reveals his growing ability to capture mood through illumination—a hallmark of his later, more renowned works. Treasured by Sorolla and his wife, the piece held a special place in their home. In his 1906 portrait Señora de Sorolla in Black, the painting features prominently in the background, framing Clotilde’s face. Sorolla’s time in Assisi refined his technical skills and deepened his fascination with the interplay of light, setting the foundation for his future artistic achievements.

For a PowerPoint Presentation of the artists oeuvre, please… Check HERE!

Bibliography: https://www.cultura.gob.es/dam/jcr:9fa09fae-ac06-454d-b8ad-8c904954f240/biografia-eng-origenes.pdf

House of the Large Fountain

by Ancient Roman VillasArchaeologyArtMosaicsPowerpointsRoman Art
House of the Large Fountain, 2nd century BC to 1st century AD, Pompeii (Regio VI   Insula 8.22), Italy
https://pompeiisites.org/en/comunicati/the-house-of-the-large-fountain-the-house-of-the-anchor-and-the-temple-of-isis-all-reopen-to-the-public/#&gid=1&pid=8

Pompeii is an ancient Roman city located near modern-day Naples, Italy, that was buried under volcanic ash and pumice after the eruption of Mount Vesuvius in AD 79. The eruption preserved much of the city in remarkable detail, offering a unique glimpse into Roman life. Excavations have revealed homes, streets, public baths, markets, and temples, as well as vibrant frescoes and mosaics. One of the notable residences is the House of the Large Fountain, famous for its elaborate garden fountain adorned with mosaics, showcasing the wealth and artistic tastes of its owners. Pompeii is renowned for its archaeological significance, as the site provides valuable insight into the daily routines, social structures, and art of Roman civilization over 2,000 years ago.

The House of the Large Fountain is one of Pompeii’s most distinctive and luxurious residences, celebrated for its remarkable garden and ornamental water features. Located on Via di Mercurio, the house’s layout dates back to the early 2nd century BC, though it underwent various modifications over time. Originally, the two atria were connected, but later alterations separated them, with the smaller atrium marked by six Doric columns. A portico supported by brick columns was added behind the tablinum, enhancing the house’s architectural complexity. In the final years before Pompeii’s destruction, the large fountain that gives the house its name was erected against the back wall of the small garden, set against a backdrop of vibrant mosaics and decorative stucco that showcases a sense of elegance and refinement.  https://pompeiisites.org/en/archaeological-site/house-of-the-large-fountain/

House of the Large Fountain, 2nd century BC to 1st century AD, Pompeii (Regio VI   Insula 8.22), Italy
https://www.planetpompeii.com/en/map/the-house-of-large-fountain/524-the-house-of-large-fountain.html

This Pompeiian example of domestic architecture is a stunning blend of artistry and antiquity, rooted in the elegance of the 2nd century BC. The fountain, the house’s most striking feature, dominates the garden space with its intricate design of wall mosaic and sculpture. In front of a colonnaded façade, the fountain consists of a niche which is completely covered with polychrome tesserae and embellished with two marble sculpture theatrical masks, a rare example of non-floor mosaic nympheum made of glass paste and stone. The mosaics, adorned with delicate seashells, and two marble theater masks, reflect the artistic tastes of the Roman aristocracy, offering a glimpse into the luxury and aesthetic values of the time. This lavish display of art and water highlights the owners’ wealth and status in Pompeian society.

The fountain’s centerpiece, a cylindrical base with a central hole, stood bare when first uncovered in the early 19th century. It wasn’t until the late 19th century that a bronze copy of a cherub riding a dolphin, originally discovered in the nearby House of the Arches, was placed at the fountain’s heart. This artistic choice mirrored the style of the House of the Small Fountain, where a similar cherubic figure with a goose serves as the focal point. The display we see today faithfully recreates this historical arrangement, echoing the fountain’s transformation and its lasting legacy over the centuries.

The fountain, positioned at the end of the garden, would have provided a soothing ambiance with its flowing water, contributing to the overall tranquility of the space, offering valuable insight into how water, art, and nature were integrated into daily life. This feature, combined with the house’s other luxuries, points to the social status of its owners, who likely used the space for both private leisure and hosting social gatherings.

House of the Large Fountain, 2nd century BC to 1st century AD, Pompeii (Regio VI   Insula 8.22), Italy
https://www.planetpompeii.com/en/map/the-house-of-large-fountain/524-the-house-of-large-fountain.html and Luigi Bazzani, Italian Artist, 1836–1927
A fountain in Pompeii (House of the Large Fountain, Pompeii), 1888, Watercolour on Paper, 46.35x 35.56 cm, Victoria and Albert Museum, London, UK https://collections.vam.ac.uk/item/O406355/painting-of-pompeii-drawing-luigi-bazzani/#object-details

Today, the house is a key example of Roman domestic art and garden design, offering valuable insight into how water, art, and nature were integrated into daily life. The lavish decorations and grand layout reflect the wealth and aspirations of the Pompeian elite, while the preservation of the site allows modern visitors to step into a world of ancient luxury. The House of the Large Fountain continues to fascinate both archaeologists and visitors for its artistic and architectural significance.

For a PowerPoint Presentation of the House of the Large Fountain in Pompeii, please… Click HERE!

Bibliography: https://collections.vam.ac.uk/search/?page=1&page_size=15&q=Luigi+Bazzani

Martin Johnson Heade’s Hummingbirds

by 19th century ArtAmerican ArtArtPowerpointsUncategorized
Martin Johnson Heade, American Artist, 1819-1904
Cattleya Orchid with Two Brazilian Hummingbirds, 1871, Oil on Panel, 34.9 x 45.7 cm, Private Collection https://www.christies.com/lot/lot-6465936?ldp_breadcrumb=back&intObjectID=6465936&from=salessummary&lid=1

Why do you stand on the air / And no sun shining? / How can you hold yourself so still / On raindrops sliding? / They change and fall, they are not steady, / But you do not know they are gone. / Is there a silver wire / I cannot see? / Is the wind your perch? / Raindrops slide down your little shoulders . . . / They do not wet you: / I think you are not real / In your green feathers! / You are not a humming-bird at all / Standing on air above the garden! / I dreamed you the way I dream fairies, / Or the flower I lost yesterday!… wrote American Poet Hilda Conkling, and I think of Martin Johnson Heade’s Hummingbirds! https://discoverpoetry.com/poems/hummingbird-poems/

Martin Johnson Heade is a 19th century American painter. Though initially not as celebrated as his contemporaries in the Hudson River School, Heade eventually gained recognition for his unique approach to landscape and still life painting. Unlike many of his peers who focused on the grandeur of American landscapes, Heade turned his attention to more intimate scenes, combining elements of nature with a profound interest in light and atmospheric effects. His career spanned over five decades, during which he traveled extensively across the United States, Latin America, and the Caribbean. These travels greatly influenced his artistic focus and the subjects of his work, particularly his fascination with Hummingbirds and tropical scenes.

The artist’s painting Cattleya Orchid and Two Hummingbirds is a striking example of his intricate and lush compositions, blending the precision of natural history illustration with the depth and emotion of high art. This work, part of his larger series on Hummingbirds, showcases Heade’s fascination with the exotic and his ability to render nature with an almost surreal clarity. The painting features a large, blooming Cattleya Orchid, its vibrant pink and purple hues standing in contrast to the deep greens of the tropical background. This choice of flower, known for its large, showy blooms and rich colours, allows Heade to explore the theme of exotic beauty, while also demonstrating his skill in capturing the delicate textures of petals and leaves.

The two Hummingbirds, to the right of the Orchid, are depicted with exquisite detail, their iridescent feathers glinting against the darker backdrop. This dynamism and the vivid contrast between the birds and their environment highlight Heade’s interest in the interplay of light and colour, as well as his ability to capture the fleeting moments of natural beauty. Heade illuminates the Orchid and the two Hummingbirds with a soft, almost ethereal light, emphasizing their delicate beauty and the magical quality of the scene. This lighting technique, combined with the precise rendering of subjects and the atmospheric depth of the background, creates a sense of immediacy and intimacy, drawing the viewer into a moment of quiet yet profound connection with the natural world.

Moreover, the composition of Cattleya Orchid and Two Hummingbirds reflects a deliberate balance between realism and romanticism, characteristic of Heade’s work. Meticulous attention to biological detail serves not only to celebrate the diversity and intricacy of nature but also to invoke a deeper sense of wonder and transcendence. This painting, therefore, stands as a testament to Heade’s artistic achievements, showcasing his unique ability to fuse scientific observation with a deeply felt aesthetic sensibility, offering viewers not just a depiction of nature, but an invitation to engage with its underlying mystery and beauty.

Martin Johnson Heade’s artistic achievements lie in his distinctive approach to painting, which merged elements of the Hudson River School with a keen observation of nature, light, and atmosphere. Heade’s contributions to art extend beyond his Hummingbird series. He is also celebrated for his magnificent landscapes and seascapes, as well as his stunning still lifes of flowers, particularly magnolias set against velvety backgrounds. Despite his late recognition, today Heade is acknowledged as a pivotal figure in American art, his work revered for its unique blend of realism, romanticism, and transcendentalist philosophy.

For a PowerPoint, titled Martin Johnson Heade, 10 Paintings, please… Check HERE!

Bibliography: https://www.christies.com/lot/lot-6465936?ldp_breadcrumb=back&intObjectID=6465936&from=salessummary&lid=1 and https://www.nga.gov/content/dam/ngaweb/Education/learning-resources/an-eye-for-art/AnEyeforArt-MartinJohnsonHeadeJohnJamesAudubon.pdf and https://www.aaa.si.edu/blog/2020/10/conversations-across-collections-martin-johnson-heades-notebook-on-hummingbirds

The Virgin with the Pomegranate

by 15th century Italian Renaissance ArtArtItalian Renaissance ArtPowerpointsRenaissanceRenaissance Art
Fra Angelico (Guido di Piero di Gino), 1395-1455
The Virgin with the Pomegranate, ca. 1426, Tempera on Panel, 87×59 cm, Prado Museum, Madrid, Spain https://www.museodelprado.es/en/the-collection/art-work/the-virgin-with-the-pomegranate/61b654df-1de2-483f-88bb-404f37747d4a?searchid=55f3ec41-7c92-bebf-e83c-b0e5c7f74a9f

Fra Giovanni Angelico of Fiesole, known in the world as Guido, was no less excellent as a painter and illuminator than as a monk of the highest character, and in both capacities, he deserves to be most honourably remembered. Although he might easily have led a secular life and gained what he liked at art beyond what he possessed, for he showed great skill while still quite young, yet being naturally quiet and modest, he entered the order of Friars Preachers 1 chiefly for the sake of his soul and for his peace of mind… As I ponder Giorgio Vasari’s words about this serene soul, my mind drifts to his masterpiece, The Virgin with the Pomegranate, housed in the Prado Museum. The painting radiates the same tranquility and depth of faith that guided Fra Angelico’s life, its vibrant yet tender hues evoking a sacred moment of grace. https://www.artist-biography.info/artist/fra_giovanni_angelico/ Giorgio Vasari, Lives of the Most Excellent Painters, Sculptors, and Architects, first published in 1550 and dedicated to Grand Duke Cosimo I de’ Medici

Fra Angelico, born Guido di Pietro around 1395 near Fiesole in Tuscany, was a prominent early Renaissance painter known for his deep spirituality and serene artistic vision. He initially trained as a manuscript illuminator before entering the Dominican Order of Friars Preachers in Fiesole, taking the name Fra Giovanni. His religious commitment deeply influenced his work, and he spent much of his career painting frescoes for monasteries and churches, including the renowned frescoes at the Convent of San Marco in Florence. Fra Angelico’s reputation as both a devout monk and a master painter earned him admiration across Italy, and in 1982, he was beatified by Pope John Paul II for the holiness reflected in his art. His works, characterized by their radiant colour and graceful compositions, brought the spiritual themes of the Christian faith to life with a profound sense of reverence.

Aesthetic values were central to Fra Angelico’s approach, reflecting his deep religious conviction and his desire to evoke the divine. He believed that art was a form of prayer and aimed to create works that inspired contemplation and devotion. His use of light and colour was symbolic, often representing the heavenly and the sacred, with soft, luminous tones that infused his figures with an ethereal quality. Fra Angelico’s compositions, whether in fresco or panel painting, emphasized harmony, balance, and simplicity, reflecting the spiritual ideals of humility and grace. His figures, especially his depictions of the Virgin Mary and angels, are known for their gentle, serene expressions, which convey a sense of inner peace. Through his artistic choices, Fra Angelico sought not only to beautify religious spaces but also to uplift the soul, making the divine more accessible to the viewer.

Fra Angelico (Guido di Piero di Gino), 1395-1455
The Virgin with the Pomegranate (detail), ca. 1426, Tempera on Panel, 87×59 cm, Prado Museum, Madrid, Spain
https://arthive.com/artists/2681~Fra_Beato_Angelico/works/566563~Madonna_with_pomegranate_Fragment_Mary_and_the_Angels

The Virgin of the Pomegranate is a masterpiece painted by Fra Angelico during a pivotal moment in the early 15th-century Florentine Renaissance. This work is a stunning example of the spiritual and artistic transformation taking place during the Quattrocento period. The painting stands out not only for its delicate beauty and religious significance but also for its rarity—being one of the few masterpieces of its era that was up until 2016, still in private hands. As Italian Renaissance art began to capture the attention of collectors and critics in the 19th century, most works by figures like Fra Angelico, Masaccio, and Masolino became housed in major European and American museums, making The Virgin of the Pomegranate even more exceptional. The Prado Museum acquired the painting in 2016 for 18 million Euros. The purchase was made possible through contributions from the Spanish state, the Fundación Amigos del Museo del Prado, and from the museum’s own funds.

Alongside this purchase, the Duke of Alba donated another Fra Angelico work, The Funeral of Saint Anthony Abbot, further enriching the museum’s collection of early Florentine art so that… all Spaniards and art lovers from every part of the world who visit the Prado and admire this most important Museum will have a better understanding of the master’s artistic achievements. http://www.alaintruong.com/archives/2016/01/26/33272102.html

Fra Angelico (Guido di Piero di Gino), 1395-1455
The Funeral of Saint Anthony Abbot, 1426 – 1430, Tempera on Poplar panel, 19.7×29.3cm, Prado Museum, Madrid, Spain https://www.museodelprado.es/en/the-collection/art-work/the-funeral-of-saint-anthony-abbot/1af1dc35-845c-43d3-b701-f5f9747e3113

Both paintings showcase Angelico’s mastery of delicate lines, soft color palettes, and ethereal figures. The Virgin’s serene expression, in particular, and the tender interaction with the child reflect a deep sense of spiritual devotion. The gold background creates a divine atmosphere, evoking the sacredness of the scene. Fra Angelico’s balanced composition and attention to detail enhance both paintings’ meditative and contemplative quality.

For a PowerPoint Presentation titled 10 Masterpieces by Fra Angelico, please… Check HERE!

For an interesting Video on Fra Angelico’s painting The Virgin with the Pomegranate, please Check…https://www.museodelprado.es/en/whats-on/multimedia/the-virgin-of-the-pomegranate-and-the-funeral-of/60b91c7a-86e2-47c7-8323-3341d196d7d6