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

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!

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!

Palacio de Santa María del Naranco and San Miguel de Lillo

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

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

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

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


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

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

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

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

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

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

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

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

Painter Lorenzo Lotto and Collector Andrea Odoni

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

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

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

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

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

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

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

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

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

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

A Gorge in the Mountains (Kauterskill Clove)

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

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

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

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

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

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

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

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