Posts in category: Powerpoints

Waken, lords and ladies gay, / On the mountain dawns the day; / All the jolly chase is here / With hawk and horse and hunting-spear; / Hounds are in their couples yelling, / Hawks are whistling, horns are knelling, / Merrily merrily mingle they, / ‘Waken, lords and ladies gay.’     /     Waken, lords and ladies gay, / The mist has left the mountain gray, / Springlets in the dawn are steaming, / Diamonds on the brake are gleaming; / And foresters have busy been / To track the buck in thicket green; / Now we come to chant our lay / ‘Waken, lords and ladies gay.’ …sings Sir Walter Scott with his Hunting Song… a fitting introduction for the new BLOG POST The Labours of the Months: November. https://discoverpoetry.com/poems/hunting-poems/

Referred to as Labours of the Months… portrayed on the pages of an illuminated manuscript, sculpted areas of a church or on panel paintings… are decorative images that feature a seasonal agricultural or pastoral activity appropriate and different for every month of the year. Such artworks, popular during the Middle Ages and the Renaissance, were created all over Western Europe, from countries of the colder North to Italy, France, and Spain of the warmer South. Depending on the area or the era these “pastoral” compositions were created, they vary in what is presented and how.

The typical November Labour scene in a Northern European Calendar would be a composition depicting farmers gathering acorns for feeding their pigs. Not so in the Venetian November Labour panel in the Collection of the National Gallery in London… A young huntsman in a red cap and jacket, the Museum experts tell us, holds the leashes of his two hounds. He looks at his hawk, which perches on his hand. A hunting horn is tied from a cord at his waist… In other cycles of the labours of the months, the Museum experts continue, hawking and falconry are associated with courtly love and the months of April and May. For the London panel… hunting has been ascribed to November as a winter pursuit. https://www.nationalgallery.org.uk/paintings/italian-venetian-the-labours-of-the-months-november

The National Gallery painting of November belongs to a group of 12 small painted panels that together decorated a set of painted Doors. These 12 paintings, very small in size, about 13.6 x 10.6 cm, were achieved in vivid, bright, luxurious colours, like ultramarine blue for the sky, strong vermilion and red lake for the clothing, with rich greens and yellows in the landscape. The restricted and repeated use of colour gives the group of little pictures a charming, decorative simplicity. All but one of the scenes show a man working outdoors on what appears to be the estate of a large villa, seen in several of the paintings, at the foot of the distant blue mountains. The small panel paintings in the National Gallery are rare and special. They document life in the Veneto area, with the peasant activities and duties to their land. They also depict a vivid landscape, romanticized even then, from bare and covered with snow, to rich and fertile, to autumnal, covered with fallen leaves. https://www.nationalgallery.org.uk/paintings/italian-venetian-the-labours-of-the-months-january#painting-group-info

For a PowerPoint on The Labours of the Months at the National Gallery in London, please… Check HERE!

Introducing his book Ambitious Form: Giambologna, Ammanati, and Danti in Florence, Michal W. Cole refers to an October 1580 letter by the Urbinate Ambassador to Florence, Simone Fortuna, addressed to his employer, Francesco Maria II della Rovere, on a meeting he had had with Giambologna, the star artist of Grand Duke Francesco de’ Medici’s Florentine court. The Flemish sculptor, the ambassador wrote, was “the best person you could ever meet, not greedy in the least, as his absolute pennilessness shows. Everything he does is in the pursuit of glory, and he has ambition in the extreme to match Michelangelo. In the judgment of many, he has already done this, and they say that if he lives much longer he will overtake him. the Duke, too, is of this opinion.” This is a wonderful quotation to start my new BLOG POST, The Colosso del’Appenino by Giambologna. https://books.google.gr/books?id=gOo9DwAAQBAJ&pg=PA1&lpg=PA1&dq=Ambassador+Simone+Fortuna&source=bl&ots=HJTneuvYgR&sig=ACfU3U1NuLNaBnQxPDDmLEuHkFbr52HrEQ&hl=el&sa=X&ved=2ahUKEwjrgr6k7tXyAhWqgf0HHWlDBq0Q6AF6BAgUEAM#v=onepage&q=Ambassador%20Simone%20Fortuna&f=false

Villa di Pratolino, on the Florentine hills heading into the Mugello valley, was meant to be a dream Villa with a fairy-tale Garden, designed as a gift to Bianca Cappello, mistress, wife by 1579, of Francesco I de’ Medici, Grand Duke of Tuscany. Every artist involved in the process was a master. Bernardo Buontalenti, court architect, and engineer completed the construction of the Villa in 1581, and Giambologna, designed the Colosso del’Appennino, a monumental statue of a brooding, bearded man, personifying the Apennine Mountains or a great river god kneeling on a garden pond, respectful to the glory of the Medici.

This epic colossal statue, half-man, half mountain, erected in the late 1570s, was originally placed within the niche of a local rock area that made it appear as if it was emerging from the surrounding landscape. Today, standing 10 m. tall, The Colosso del’Appennino by Giambologna still hides a wonderful secret, grottoes, passageways, and rooms with different functions that made this colossus come to life. The Colosso’s left hand, for example, holds spewed water from an underground stream, and it is rumored that space in his head was made for a fireplace which, when lit, would blow smoke out of his nostrils. Back in the 1570s, the statue was not standing alone. It was surrounded by other bronze statues, many of which have now gone lost or stolen. The Colosso, however, withstood centuries in the same spot, managing to maintain its figurative composition in all that time. A fitting testimony to Giambologna’s genius! https://www.boredpanda.com/appennino-sculpture-colossus-giambologna-florence-italy/?utm_source=google&utm_medium=organic&utm_campaign=organic and https://mymodernmet.com/giambologna-colosso-dell-appennino/

Unfortunately, the Villa and the largest part of this amazing garden were destroyed in 1819 to make an easy to maintain “English garden”. Few parts survived including the Colosso del’Appennino, Cupid’s Grotto, a chapel, and a series of crayfish pools. In 1872 Villa di Pratolino and its gardens were sold to the Russian Prince Paolo II Demidoff, who renovated the Gardens, restored the buildings within the property, and enlarged one of the remaining outer structures into a villa that then took his name. In 1981, the Florence Province Council bought the property to turn it into a public park, known today as Villa Demidoff and Park of Pratolino. https://www.discovertuscany.com/mugello/pratolino-park.html

More on Giambologna, the great artist of the 16^th century… http://www.travelingintuscany.com/art/giambologna.htm

On Bianca Cappello, and her extraordinary life… please go to my Teacher Curator Post: https://www.teachercurator.com/art/what-a-life-you-had-bianca-cappello/

For a PowerPoint on Giambologna’s work, please check HERE!

The young man in the new BLOG POST The Labours of the Months: October, seems startled… he gestures to something in front of him, and turns to look over his shoulder as if talking to someone outside the picture. He is sitting on a rock but appears to be about to start ploughing. “Make sure the lines are straight” his foreman calls “use the simple wood and metal plough I gave you, push it hard on the ground, move it to either side to make an open shallow furrow. Our patrone hasn’t decided yet what we will plant, but whatever it is, it will look nice in February…” https://www.nationalgallery.org.uk/paintings/italian-venetian-the-labours-of-the-months-october and https://www.teachercurator.com/art/the-labours-of-the-months-february/

This small painting is one of 12 small pictures that together show the ‘Labours of the Months’ – the activities that take place each month throughout the farming year. They were meant to decorate the recessed panels of a pair of doors, and seem to have been planned in pairs with the figures facing each other. This set of painted Doors combine simplicity in execution and extravagance in visual effect! The paintings, very small in size, about 13.6 x 10.6 cm, were achieved in vivid, bright, luxurious colours, like ultramarine blue for the sky, strong vermilion and red lake for the clothing, with rich greens and yellows in the landscape. The restricted and repeated use of colour gives the group of little pictures a charming, decorative simplicity. All but one of the scenes show a man working outdoors on what appears to be the estate of a large villa, seen in several of the paintings, at the foot of the distant blue mountains. The small panel paintings in the National Gallery are rare and special. They document life in the Veneto area, with the peasant activities and duties to their land. They also depict a vivid landscape, romanticized even then, from bare and covered with snow, to rich and fertile, to autumnal, covered with fallen leaves. https://www.nationalgallery.org.uk/paintings/italian-venetian-the-labours-of-the-months-january#painting-group-info

The Labours of the Months had a role in highlighting authority and privilege, hard work and occasionally, small, everyday pleasures. They are often perceived as a link between the work of man, the seasons of the year and God’s ordering of the Universe. As a theme, it recurred in the sculptural decoration of cathedrals and churches across Europe, in illuminated manuscripts like the popular Books of Hours, palace frescoes and rarely, panel painting. The Trentino Fresco Panels at Torre Aquila for example, present trained and obedient peasants busy with their seasonal activities, but dominated by the local aristocracy who seem to only care for their idler activities. (I presented the eleven surviving Torre Aquila frescoes in 2020. Please Check https://www.teachercurator.com/?s=torre%20aquila&cat=plus-5-results)

For a PowerPoint on The Labours of the Months at the National Gallery in London, please… Check HERE!

Another smell of autumn / sweet sweet smell / of Concord grapes / warming ripening/ ready to burst with flavor / strong urgent smell / lured me closer/ spreading outward /from the makeshift arbor / a plume twenty feet wide / enticing, coaxing / me to linger /luxuriate in its aroma smile at the memory / of other pickings / long ago / Sweet fruit / high above me, / out of reach up in the canopy / formed by wire and bush… lovely and short, by Raymond Foss, a lawyer from New Hampshire who writes poetry in his spare time… a wonderful introduction for my new BLOG POST on The Labours of the Months: September. https://cindydyer.wordpress.com/2007/08/01/harvesting-grapes-812007/

A man in the National Gallery painting sits beneath a tree inform us the Renaissance experts in the London Museum, through which a vine has been trained. A large bunch of red grapes hangs from a leafy stem. He uses both hands to squeeze the juice from another bunch into a wooden vat on the ground at his feet. The grape juice will be turned into wine and possibly stored in the barrel we see being made in an earlier scene. This is a fitting scene for any painting depicting the Labours of the Months and particularly the scene representing September. https://www.nationalgallery.org.uk/paintings/italian-venetian-the-labours-of-the-months-september

Europeans of the Renaissance period created, in various Art media, Calendars of specific religious events celebrated every month of the year. These Calendars were often embellished with scenes of seasonal, agricultural activities and popular scenes of the life of the elite courtiers as well. These iconographic scenes are traditionally called the ‘Labours of the Months’. They can be seen in manuscripts like Psalters, Breviaries, and Books of Hours, sculptural decorations of Cathedrals, and like in the case we explore this year, a set of decorated doors for a Venetian Palazzo. Their artistic rendering and content varies depending on the date, location, and purpose of each artwork

A typical Calendar depicting agricultural Activities present, often but not always, scenes of Feasting for January, Sitting by the fire for February, Pruning trees or digging for March, Planting and enjoying the country or picking flowers for April, Hawking and courtly love for May, Hay harvest for June,  Wheat harvest for July, Wheat threshing for August, Grape Harvest for September,  Ploughing or sowing for October,  Gathering acorns for pigs for November and Killing pigs or baking for December.

The small painting in London presenting September as a man squeezing the juice from a bunch of grapes is part of a special set of Renaissance painted Doors. The unknown artist who created this painting used vivid, bright, luxurious colours, like reds, blues, white and green. He combined simplicity in execution and extravagance in visual effect, creating a charming decorative effect.

For a PowerPoint on the painting under focus at the National Gallery in London, please… Check HERE!