Brunelleschi vs. Ghiberti

by 15th century Italian Renaissance ArtArtItalian Renaissance ArtPowerpointsRenaissanceRenaissance Art
Lorenzo Ghiberti, 1378-1455
Sacrifice of Isaac, 1401, Gilded Bronze, 45 × 38 cm, Museo Nazionale del Bargello, Florence, Italy
Filippo Brunelleschi, 1377-1446
Sacrifice of Isaac, 1401, Gilded Bronze, 41 × 36 cm, Museo Nazionale del Bargello, Florence, Italy
https://idole-rivalen.khm.at/en/ 

In 1400, a competition was announced for a bronze double door at the Baptistery in Florence. While such contests were no rarity, this one is considered a classic of its kind. A jury of 34 declared the winner to be Lorenzo Ghiberti, whose composition was regarded as better balanced, not to mention its using around seven kilograms less of the valuable material. Hardly any history of Renaissance art fails to mention this event as a founding moment. The Brunelleschi vs. Ghiberti competition is the best introduction, in my humble opinion, to 15th-century Italian Renaissance Art. https://idole-rivalen.khm.at/en/   

For today’s BLOG POST allow me to quote and remember how Giorgio Vasari in his Lives of the Most Excellent Painters, Sculptors, and Architects, first published in 1550 and dedicated to Grand Duke Cosimo I de’ Medici, describes the famous 1401 competition for a bronze double door at the Baptistery in Florence. The life of Filippo Brunelleschi, and the Life of Lorenzo Ghiberti, as narrated by Vasari, provide the necessary information on how the competition and Lorenzo’s victory were seen in the 16th century by the artist/author considered to be the first Art Historian ever! https://filippobrunelleschifacts.tumblr.com/post/109790232722/vasaris-lives-of-the-artists-life-of  and http://www.artist-biography.info/artist/lorenzo_ghiberti/

Filippo Brunelleschi, 1377-1446
Sacrifice of Isaac, 1401, Gilded Bronze, 41 × 36 cm, Museo Nazionale del Bargello, Florence, Italy
https://www.artesvelata.it/concorso-1401/

From the life of Filippo Brunelleschi… in the year 1401, now that sculpture had risen to so great a height, it was determined to reconstruct the two bronze doors of the Church and Baptistery of San Giovanni, since, from the death of Andrea Pisano to that day, they had not had any masters capable of executing them. This intention being, therefore, communicated to those sculptors who were then in Tuscany, they were sent for, and each man was given a provision and the space of a year to make one scene; and among those called upon were Filippo and Donato, each of them being required to make one scene by himself, in competition with Lorenzo Ghiberti, Jacopo della Fonte [Jacopo della Quercia], Simone da Colle, Francesco di Valdambrina, and Niccolo d’ Arezzo. These scenes, being finished in the same year and being brought together for comparison, were all most beautiful and different one from the other; one was well designed and badly wrought, as was that of Donato; another was very well designed and diligently wrought, but the composition of the scene, with the gradual diminution of the figures, was not good, as was the case with that of Jacopo della Quercia; a third was poor in invention and in the figures, which was the manner wherein Francesco di Valdambrina had executed his; and the worst of all were those of Niccolo d’ Arezzo and Simone da Colle. The best was that of Lorenzo di Cione Ghiberti, which had design, diligence, invention, art, and the figures very well wrought. Nor was that of Filippo much inferior, wherein he had represented Abraham sacrificing Isaac; and in that scene a slave who is drawing a thorn from his foot, while he is awaiting Abraham and the ass is browsing, deserves no little praise.

The scenes, then, being exhibited, Filippo and Donato were not satisfied with any save with that of Lorenzo, and they judged him to be better qualified for that work than themselves and the others who had made the other scenes. And so with good reasons they persuaded the Consuls to allot the work to Lorenzo, showing that thus both the public and the private interest would be best served; and this was indeed the true goodness of friendship, excellence without envy, and a sound judgment in the knowledge of their own selves, whereby they deserved more praise than if they had executed the work to perfection. Happy spirits! who, while they were assisting one another, took delight in praising the labors of others. How unhappy are those of our own day, who, not sated with injuring each other, burst with envy while rending others? The Consuls besought Filippo to undertake the work in company with Lorenzo, but he refused, being minded rather to be first in an art of his own than an equal or a second in that work. Wherefore he presented the scene that he had wrought in bronze to Cosimo de’ Medici, who after a time had it placed on the dossal of the altar in the old Sacristy of San Lorenzo, where it is to be found at present; and that of Donato was placed in the Guild of the Exchange.

Lorenzo Ghiberti, 1378-1455
Sacrifice of Isaac, 1401, Gilded Bronze, 45 × 38 cm, Museo Nazionale del Bargello, Florence, Italy
https://www.artesvelata.it/concorso-1401/

From the Life of Lorenzo Ghiberti… He had not been long absent from home when the plague ceased, and the Signoria of Florence and the art of the merchants, seeing that there were a number of excellent artists in sculpture at that time, both foreigners and Florentines, thought that it would be a favourable opportunity to make the other two doors of S. Giovanni, the ancient and principal church of the city, a matter which had frequently been discussed. It was arranged by them that all the masters considered to be the best in Italy should be invited to come to Florence to compete in making bronze panels similar to those which Andrea Pisano had done for the first door. Ghiberti was working at Lesare at the time but although offers of higher wages were promised, he availed nothing, for to Lorenzo it seemed worth a thousand years to return to Florence, and he accordingly set out and reached his home in safety. Many foreigners had already arrived and reported themselves to the consuls of the arts. From among them seven masters in all were selected: three Florentines, and the remainder Tuscans. A provision of money was set apart for them, and it was stipulated that within a year each of them should produce, as an example of his skill, a bronze panel of the same size as those of the first door. It was determined that the scene represented should be the sacrifice of Isaac by Abraham, which was considered to be a good subject in which the masters could grapple with the difficulties of the art, because it comprises a landscape, figures both nude and draped, and animals, while the figures in the foreground might be made in full relief, those in the middle distance in half-relief, and those in the background in bas-relief. The competitors for this work were: Filippo di ser Brunellesco, Donato and Lorenzo di Bartoluccio, Florentines, and Jacopo dalla Quercia of Siena, Niccolo d’Arezzo his pupil, Francesco di Vandabrina, 1 and Simone da Colie, sumamed “of the bronzes,” who all promised the consuls to have their panels ready at the appointed time.

They set to work and devoted all their study and diligence, all their strength and knowledge, to surpass each other, keeping what they did close secret, so that they might not light upon the same ideas. Lorenzo alone, who enjoyed the help of Bartoluccio, who made him take great pains and prepare many models before he resolved upon adopting any one of them, continually brought his fellow citizens, and also passing strangers if they understood the trade, to see his work and hear their opinion. By the aid of their criticisms he was enabled to produce a model which was beautifully made and absolutely without a fault. Having shaped his figures and cast the whole in bronze, it proved excellent; and he and his father, Bartoluccio, polished it with such devotion and patience that it was impossible for it to have been better finished. When the time arrived for it to be exhibited in the competition, his panel and those of the other masters were handed over to the art of the merchants to be adjudicated upon. When they came to be examined by the consuls and several other citizens many various opinions were expressed. Numbers of strangers had assembled in Florence, some painters, some sculptors, and some goldsmiths, who were invited by the consuls to come and judge the works in conjunction with others of the same professions who lived in Florence. They numbered thirty-four persons in all, each of them being an adept in his art, and although there were differences of opinion among them, some preferring the style of one and some that of another, yet they were agreed that Filippo di ser Brunellesco and Lorenzo di Bartoluccio had composed and finished a larger number of figures better than Donato had done, although his panel exhibited great powers of design. In that of Jacopo dalla Quercia the figures were good but lacking in delicacy, in spite of the good design and the care bestowed. The work of Francesco di Vandabrina contained good heads and was well finished, but the composition was confused. That of Simone da Colle was a good cast, because he was a founder by profession, but the design was not very good. The production of Niccolo d’Arezzo, showing great skill, was marred by stunted figures and absence of finish. Lorenzo’s alone was perfect in every part, and it may still be seen in the audience chamber of the art of the merchants. The whole scene was well designed and the composition excellent, the figures being slender and graceful, the pose admirable and so beautifully finished that it did not look as if it had been cast and polished, but rather as if it had been created by a breath. Donato and Filippo, when they perceived what diligence Lorenzo had devoted to his work, withdrew to one side and agreed that the work ought to be given to him, for it seemed to them that public and private interests would thus be best served, and as Lorenzo was a young man, not past twenty, he would be able to realize in the production of this work the great promise of his beautiful scene, which; according to their judgment, he had made more excellently than the others: adding that it would be more shameful to dispute his right to preeminence than generous to admit it. Accordingly Lorenzo began on that door opposite the opera of S. Giovanni,’ constructing a large wooden frame for a part of it of the exact size he desired, in the shape of a frame with the ornamentation of heads at the angles about the spaces for containing the scenes and the surrounding friezes. After he had made the mold and dried it with all diligence, he set up a huge furnace, which I remember having seen, and filled the frame with metal. He did this in some premises he had bought opposite S. Maria Nuova, where the hospital of the weavers, known as the Threshing floor, now stands. But realising that all was not going well, he did not lose courage or become distracted, but traced the cause of the disorder and altered his mold with great quickness without anyone knowing it, recasting the world, which came out most successfully. He went on similarly with the rest of the work, casting each scene separately, and then putting them in their appointed places. The division of the scenes was similar to that adopted by Andrea Pisano in the first door designed for him by Giotto.

It is always interesting to go as close as possible to primary sources!

For a PowerPoint on the competition panels, please… Check HERE!

For a Video on the Competition Panels, please Check… smarthistory… https://smarthistory.org/filippo-brunelleschi-and-lorenzo-ghiberti-sacrifice-of-isaac/

Idols & Rivals, Artists in Competition (September 20, 2022 – January 8, 2023) was an interesting Exhibition in the  Kunsthistorischen Museum in Vienna. It showed how in antiquity, the Renaissance, and the Baroque, artists competed with one another and how, in addition, they measured themselves against ancient models. This kind of competition has brought forth some of the best-known works in the history of art. Among the competitors were Brunelleschi and Ghiberti… https://idole-rivalen.khm.at/en/

Agias Son of Aknonios

by Ancient Greek ArtArtPowerpointsSculpture
Agias, Son of Aknonios, Daochos Monument (detail2), c. 336- 332 BC, Marble, Height: 2.09 m, Delphi Archaeological Museum, Greece https://twitter.com/AncientEurope/status/1060343094133080064/photo/3

The family offering of Daochos II, or of the House of the Thessalians was initially erected on the prominent terrace northeast of the temple. It comprises a group of marble statues dedicated to Apollo by Daochos II, a Thessalian dignitary from Pharsalus, who represented his people in the Amphictyonic League of Delphi (336-332 BC) where he served the interests of the Macedonians. Nine statues stood on a narrow space: Apollo (lost) and eight representatives of the dedicator’s powerful family (Agias Son of Aknonios is one of them) who were famous for their political, military and athletic exploits. We know the names and glorious deeds of the men represented from the inscriptions carved on the front of the base. Although the figures are deployed in a line and differ from one another in pose and dress, they nevertheless interact through the symmetrical or contrasting movement of their bodies, gestures, and turns of the head. Rosina Colonia, The Archaeological Museum of Delphi, John S. Latsis Public Benefit Foundation, Athens, Greece, page 321 https://www.latsis-foundation.org/content/elib/book_13/delphoi_en.pdf

Agias, Son of Aknonios, Daochos Monument, c. 336- 332 BC, Marble, Height: 2.09 m, Delphi Archaeological Museum, Greece https://twitter.com/AncientEurope/status/1060343094133080064/photo/1

The monument of Daoxhos II at Delphi, a family portrait gallery of eight statues, showcases six successive generations within the direct family lineage of Daochos II, stretching back to the late 6th century. It starts on the right side of the Monument, with the statue of Apollo (the statue is lost), the deity to whom the monument was dedicated. Based on the size and shallow nature of the carving, it is likely that the statue depicted Apollo in a seated position.

Daochos Monument, c. 336- 332 BC, Marble, Delphi Archaeological Museum, Greece https://en.wikipedia.org/wiki/Ex_voto_of_Daochos

On the right side of Apollo, the unknown artist of the Monument placed the statue of Aknonios, great-great-grandfather of Daochos II, who lived during the Persian Wars and served as Tetrarch of Thessaly. Aknonios is followed by his three sons, all of them distinguished athletes. First comes the oldest son, Agias, the great-grandfather of Daochos II. Placed next to his father following a generational sequence, Agias was a distinguished athlete of Pankration, an Olympian, and the winner of many Panhellenic Games during the 5th century. His brother Telemachos, a 440 BC Olympic Games Wrestling Winner comes next, followed by the younger of the three brothers, Agelaos, a champion Runner. Daochos I, son of Agias, grandfather of the monument’s donor, and Tetrarch of Thessaly for twenty-seven peaceful years are placed next to Agelaos. He is followed by Sisyphus I, his son, a military man, his grandson, and donor, Daochos II, and finally Sisyphus II, the youngest member of the Thessalian family.

The statue of each depicted member of the Thessalian family is differentiated, by pose, anatomy, and dress. Each statue stands alone, yet, their body postures, hand gestures, and the way their heads turn unite them, creating a tight composition.  The represented statesmen, for example, Aknonios and Daochos I, depicted wearing the short chlamys favoured by Macedonian and Thessalian men, look sturdy and solemn. Sisyphus I, the only military representative in the Daochos II group, is presented as if he is giving military orders. As for the rest, Agias, Telemachos, Agelaos, and young Sisyphus II, presented in the nude, are perfect examples of youth and athletic prowess.

The statue of Agias son of Aknonios, and great-grandfather of Daochos II, is the Monument’s most preserved and most significant artwork. The Monument’s epigram, beneath his statue, identifies him as a distinguished athlete… Πρῶτος Ὀλύμπια παγκράτιον, Φαρσάλιε, νίκαις | Ἀγία Ἀκνονίου, γῆς ἀπὸ Θεσσαλίας, | πεντάκις ἐν Νεμέαι, τρις ​​Πύθια, πεντάκις Ἰσθμοῖ · | καὶ σῶν οὐδεὶς πω στῆσε τρόπαια χερῶν… Man from Pharsalos (a town in Thessaly), having won the pankration first in Olympia, Agias, the son of Aknonios, from the land of Thessaly, (you won) five times in Nemea, three times the Pythian Games and five times on the Isthmos; no one has ever erected a victory monument at the expense of your poor.

As an athlete, Agias is depicted in a state of nudity, showcasing his athletic prowess as a victorious competitor. He is depicted standing upright, facing the viewer… but he appears restless! The weight distribution between his legs is not sharply differentiated. There is a lack of pronounced contrast between the weight-bearing, straight, right leg and the free, slightly bent, left leg. The statue appears to shift back and forth between the two stances, rather than standing at ease.

Equally restless seems to be the remaining body posture. The right hip, for example, juts out slightly, yet the overall impression is one of verticality. To the same extent, the arms are not ‘hanging’ down relaxed, but rather held slightly away from the athlete’s body, adding to their dynamic quality. The head, smaller in size compared to the statue’s size, rests on a muscular neck, slightly turning to the left. The facial details convey a sense of distinctive personality with a firmly set, sensual mouth, a rather large nose, and small eyes deeply set into the head. The gaze carried by Agias seems directed into space, imparting a certain detachment from the world. Overall, Agias’s torso, arms, legs, neck, and head, are powerfully built, but the body does not appear heavy. The son of Aknonios is a powerful Pankreatist, yet a tall, slender, elegant, thoughtful man.

Is the statue of Agias at Delphi the artistic creation of Lysippos, the great 5th-century sculptor from Sicyon?

According to modern scholars, Lysippos, the favourite sculptor of Alexander the Great, developed a particular artistic canon aimed at achieving specific effects. The statue of Agias, an idealized 4th century portrait, made long after the athlete’s death as part of the Monument of Daochos II, seems to ‘match’ Lysippos’ distinct artistic ‘effects’. It is characterized by a dynamic, yet ‘restless’ posture, a lean physique, individualized facial features, and a sense of detachment conveyed through the statue’s gaze.

The statue’s connection to Lysippos is further enhanced by an archaeological find at Pharsalos, the birthplace of Agias. A few years back, archaeologists unearthed the base of yet another statue of Agias (the actual statue is lost), which carried an inscription in part nearly identical to the Agias epigram at Delphi. It appears that the Delphi inscription was excerpted from that at Pharsalos, where, at its end, the name of Lysippos, the sculptor, was clearly written.

In conclusion…

The statue of Agias, part of the Monument of Daochos II at Delphi, was erected between the years 337/6 and 333/2 and embodies many artistic characteristics of the Lysippian style. The statue is identified as Agias, son of Aknonios, from an epigram inscribed on its base. This epigram is a copy of the inscription carved on the base of a chronologically older ‘statue’ of Agias discovered in the ancient city of Pharsalos, the birthplace of the athlete. The Pharsalos ‘statue’, commissioned, most probably, by Daochos II as well, believed to be an original creation of the sculptor Lysippos, done in bronze, and dated before 337/6 BC, has sparked many discussions about the creator of the statue of Agias at Delphi. Is it an original work by Lysippos or a copy of his bronze original statue at Pharsalos? Today, it is believed that the Delphic Agias, even if not a faithful replica of Lysippus’ original statue at Pharsalos, belongs to his workshop and, as a work from the 4th century BC, sheds light on the artistic trends of that era.

For a PowerPoint Presentation of the Monument of Daochos II in the Archaeological Museum at Delphi, please… Check HERE!

Bibliography: Rosina Colonia, The Archaeological Museum of Delphi, John S. Latsis Public Benefit Foundation, Athens, Greece (for the Statue of Agias and the Monument of Daochosin Delphi, go to pages 321-324) https://www.latsis-foundation.org/content/elib/book_13/delphoi_en.pdf and  https://www.latsis-foundation.org/content/elib/book_13/delphoi_en.pdf and https://www.perseus.tufts.edu/hopper/artifact?name=Delphi%2C+Daochos+Monument%2C+Agias&object=Sculpture

The Dance by Matisse at the Barnes Foundation

by 20th century ArtArtFrench ArtMuseumsPowerpoints
Henri Matisse, French Artist, 1869 – 1954
The Dance (view of the Main Room, South Wall), Summer 1932 – April 1933, Oil on canvas; three panels, Overall (left): 339.7 x 441.3 cm, Overall (center): 355.9 x 503.2 cm, Overall (right): 338.8 x 439.4 cm, the Barnes, Philadelphia, PA, USA https://collection.barnesfoundation.org/objects/6967/The-Dance/ensemble

My new BLOG POST titled The Dance by Matisse at the Barnes Foundation starts by quoting Professor Yve-Alain Bois, how Matisse himself describes, on two separate accounts, the moment at which he began work on the Barnes Dance composition and the immensity of the surface he had to master or as he phrased it ‘to possess’…. In the first version, it is an architectural rhyme that triggers the onset of this sense of possession: ‘ As I was pacing in front of my seventy-two square meters of white canvas destined to become the decoration of Doctor Barnes, not knowing which way to start, I noticed by chance a rope hanging from a window to a random spot in my studio, standing out and projecting a curve on my canvas. I suddenly had before me the relationship of this curve to the great rectangle of the edges of my decoration.

Unidentified Photographer
Henri Matisse using a bamboo stick to sketch The Dance in his studio in Nice, 1931, Photograph Collection, Barnes Foundation Archives, Philadelphia
https://www.ias.edu/ideas/2016/bois-matisse-barnes

The second documented account, once more quoting Professor Yve-Alain Bois, of what kicked off Matisse’s sense of taking possession, of the immensity of the space he had to cover, is perhaps more surprising than the first… ‘Faced with my huge white canvases, Matisse wrote, I took a model and began a study that had nothing to do with the decoration. At each of the model’s breaks, I relaxed by looking at these great surfaces, absentmindedly—or so I thought. Then, at a certain point, there came a flash of inspiration. I took my big charcoal, attached it to the end of a big bamboo, and began drawing the circle of my dancers, from one end to the other of my thirteen-meter surface. I’d got off the mark, taken possession of my surface entirely through the power of my imagination. That’s how I made my painting: entirely from feeling, without a model.’

It was the 27th of September, 1930, when Matisse, while touring the United States by train, made a detour to the Barnes Foundation because it housed a significant number of his artworks. He was a man in trouble… I have made several attempts to paint, he wrote to his daughter, Marguerite, in 1929, but when faced with the canvas, I find myself devoid of inspiration… The once-upon-a-time enfant terrible experienced a disheartening period of creative stagnation.

The artist was 60 years old, and lived in Nice, for the past thirteen years. Employing vibrant patterns and radiant colors illuminated by the Mediterranean light, he found himself falling into a repetitive style, capturing captivating female models within the confines of his studio. By 1927, certain critics questioned whether this once-radical artist had lost his innovative spark. They were wondering whether the aging painter of the odalisques was the man André Breton described as ‘a discouraging and discouraged old lion’.

Back in Philadelphia, in September of 1930, visiting the Barnes Foundation, and talking with its founder and owner, Dr. Albert Barnes, Matisse’s creativity ‘issue’ was put to test… According to Cynthia Carolan, a docent at the Barnes Foundation, Dr. Barnes approached the aging painter, engaged him in a gentle critique of his Nice paintings, and acknowledged their sensuous and captivating nature, but suggested they lacked the weightiness of his earlier works. Then, the collector extended an invitation to Matisse, offering him a commission to create a painting that would suit the lunettes, the grand arches above the windows, on the southeast wall of his newly established gallery.

It was a challenge Matisse could not refuse. It would be the only commissioned artwork within the Barnes collection, created specifically for an architectural area of the building. It was a ‘grand’ project as he was expected to create a ‘mural’ in a space that spanned a width of approximately 13.7 meters. It would consist of three distinct canvases, with borders that would converge. Barnes gave Matisse free rein in the choice of subject matter; the agreement simply specified the size of the mural and its place on the southeast wall of the Main Gallery. For Matisse, who had never created anything this large, it was a new beginning!

Henri Matisse, French Artist, 1869 – 1954
The Dance, Summer 1932 – April 1933, Oil on canvas; three panels, Overall (left): 339.7 x 441.3 cm, Overall (center): 355.9 x 503.2 cm, Overall (right): 338.8 x 439.4 cm, the Barnes, Philadelphia, PA, USA https://collection.barnesfoundation.org/objects/6967/The-Dance/

Matisse soon chose the subject of The Dance to embellish the three arches that extended above the French windows. The motif represented an expression of vitality and rejuvenation, a theme that had preoccupied him since he was inspired by the sight of the Catalan fishermen dancing the sardaña on the beach at Collioure in the summer of 1905. He rented the space of an old garage, big enough to work on the outsized canvases, turned to his 1909 and 1910 paintings of Dance 1 and Dance II for inspiration… and started facing the challenges!

Henri Matisse, French Artist, 1869 – 1954
Study for Barnes Mural, Ocher Harmony, 1930–31, oil on canvas, 22×88 cm, Musée Matisse Nice, France
https://philamuseum.org/calendar/exhibition/matisse-1930s

‘Possessing’ the magnitude of the space he had to cover was his biggest challenge. Designing his dancers with correct proportions for the architectural space they would ‘inhabit’ was another one. Using large zones of flat colors that resist the typical illusion of depth and invite the Foundation’s viewers to gentle contemplation was yet, another.

Matisse experimented for a whole year… By using a long bamboo pole attached to a pencil as an elongated drawing device to sketch the dancers’ shapes, Matisse invented a new drawing tool. By cutting large pieces of pre-coloured paper and pinning them up, he solved the problem he faced of setting the piece’s correct proportions. For the first time, Matisse used scissors as an art tool, ushering in the age of his renowned cut-outs. He also began using a camera to document his process so he could compare changes from day to day.

The Dance in Philadelphia, at the Barnes Foundation, marked a return to a modernist style, ultimately creating a dynamic composition depicting bodies that seem to jump across abstracted spaces of pink and blue fields. Matisse struggled and changed the course of action many times, but in the end, ever so innovative, reached his goal and reclaimed his position as a leading figure in the tradition of decorative mural painting… to do it publicly and on a grand scale.

For a PowerPoint on the theme of Matisse and Dance, please… Check HERE!

Bibliography: https://www.ias.edu/ideas/2016/bois-matisse-barnes and https://www.bbc.com/culture/article/20230118-matisses-the-dance-the-masterpiece-that-changed-history and https://collection.barnesfoundation.org/objects/6967/The-Dance/

House of the Faun

by Ancient Roman VillasArtMosaicsPowerpointsRoman Art
The Latin inscription HAVE, translated as Welcome in English, salutes visitors to the largest and most luxurious residence in Pompeii, The House of the Faun, 2nd century BC to 79 AD, Pompeii, Italy
http://pompeiisites.org/en/archaeological-site/house-of-the-faun /

The House of the Faun is the grandest and most lavishly decorated private residence in ancient Pompeii. Originally serving as the home of a privileged family, this remarkable house, constructed in the latter part of the second century BC, circa 180 BC to be specific, occupied an entire city block and boasted an expansive interior spanning approximately 3,000 square meters. Home to many spectacular pieces of art, the House of the Faun stands out for its opulent floor mosaics, some of which remain in their original positions, while others are exhibited at the National Museum of Naples.

House of the Faun, the large Tuscan Atrium of the House of the Faun in Pompeii with a central impluvium (rainwater basin) and the bronze statue of the Dancing Faun, a Roman copy of a Hellenistic original bronze statue, 0.64 cm, National Museum of Naples, Italy https://www.worldhistory.org/image/11263/the-atrium-of-the-house-of-the-faun-in-pompeii/

The title, House of the Faun, derived from an original bronze figurine portraying a dancing Faun situated at the heart of a white limestone Impluvium (Plan No. 27), a basin for collecting water. Fauns, ethereal beings associated with untamed forests, were frequently linked by Romans to Pan and Greek satyrs, who were followers of Dionysus, the Greek deity associated with wine and agriculture. The original bronze statuette of the Dancing Faun is in the National Museum of Naples, thus the statue seen in the house’s ruins today is a copy.

The elaborate and sophisticated architectural plan of the House of the Faun reflects the wealth and social status of its occupants and follows the standard Roman architectural style of a Domus (private family house) but on an exceptionally grand scale. The House had, for example, two main Entrances, (Plan No 2bold and No 5bold). The principal Entrance (Plan No. 2bold) led to the Tuscan Atrium (Plan No. 27), while a secondary Entrance (Plan No. 5bold) led directly to the Tetrastyle Atrium (Plan No. 7)  and the service areas. The Tuscan Atrium, with a large open hall, the heart of the house, had the impluvium in the center, a basin that collected rainwater, with a small bronze statue of a Dancing Faun, giving the house its name.

Around the Tuscan Atrium were various rooms including cubicula (bedrooms), a tablinum (office or study), and triclinia (dining rooms). A special room, the Exedra (Plan No. 37), was off the smaller Peristyle (Plan No. 36) and contained the famous Alexander Mosaic.

Mosaic of Alexander and Darius, 2nd century BC, Naples Archaeological Museum, Italy https://mann-napoli.it/en/mosaici-2/#gallery-4

The house had two Peristyles (Plan No. 36 and No. 39) or colonnaded courtyards. The larger one (Plan No. 39), was essentially a garden surrounded by a colonnade. The second smaller Peristyle (Plan No. 36) was more private and was linked to the private living areas. Separate service quarters were attached to the secondary entrance and the Tetrastyle Atrium (Plan No. 5bold and No. 7). These included the kitchen, a small bathing complex, slave quarters, and storerooms. On the exterior, the house had tabernae or shops (Plan No. 1, No 2, No 3, and No 4). These were leased out to generate additional income.

The House of the Faun represents a clear example of how the Romans valued both private and social aspects of life, and how they incorporated this into their architecture.

This residence is most famous for its intricate and beautifully preserved mosaics, which not only demonstrate the wealth and status of its inhabitants but also provide an insight into the aesthetic tastes of the Roman elite during this period. The mosaics serve as invaluable examples of the ancient Roman mosaic tradition, each one unique in design and execution.

The most famous mosaic found in the House of the Faun is the Alexander Mosaic, which covered the floor of the Exedra (Plan No. 37). The mosaic, dated during the 2nd century BC, is believed to depict the Battle of Issus (333 BC) between Alexander the Great and Darius III of Persia. The mosaic is lauded for its attention to detail, dramatic energy, and sophisticated use of perspective, showcasing a high degree of artistic skill.

The mosaic I find particularly touching presents one word only. It was placed in front of the main entrance to the House (Plan No. 2bold), reading HAVE, a Latin word meaning ‘Greetings’ or ‘Welcome’. Isn’t it a particularly welcoming touch to the grandeur of this spectacular Pompeiian house?

The PowerPoint I prepared for my new BLOG POST the House of the Faun has two Parts. The first consists of photos of the House itself. The second part of the PowerPoint presents photos of its famous Mosaics. For the PowerPoint, please… Check HERE!

This Video dedicated to the House of Faun is worth seeing… https://www.youtube.com/watch?v=-X4i0psJ2p0

A Coign of Vantage by Sir Lawrence Alma-Tadema

by 19th century ArtArtArt of the United KingdomPowerpointsVictorian Art
Sir Lawrence Alma-Tadema, O.M., R.A., R.W.S., Anglo-Dutch Artist, 1836-1912
A Coign of Vantage, 1895, Oil on Canvas, 63.8 x 44.7 cm, Private Collection https://www.telegraph.co.uk/art/what-to-see/alma-tadema-home-antiquity-leighton-house-museum-review/

Sir Lawrence Alma-Tadema was a renowned Dutch-born British painter who had a profound interest in Roman antiquity. He was one of the leading artists of the late 19th century and early 20th century, specializing in historical and classical subjects. Alma-Tadema’s fascination with Roman antiquity was central to his artistic vision and played a significant role in shaping his career. The painting A Coign of Vantage by Sir Lawrence Alma-Tadema, regarded as one of the artist’s quintessential masterpieces, is a favourite of mine! SIR LAWRENCE ALMA-TADEMA, O.M., R.A., R.W.S. (BRITISH, 1836-1912) (christies.com)

The painting A Coign of Vantage by Sir Lawrence Alma-Tadema has an interesting title! The phrase comes from Shakespeare’s Macbeth, no jutty, frieze, Buttresss, nor coign of vantage, but this bird Hath made his pendent bed and was later popularized by Sir Walter Scott. The word coign, meaning a projecting corner or cornerstone, is a variant of the coin from Old French meaning ‘wedge, corner, die’, from Latin cuneus ‘wedge’. Sir Lawrence Alma-Tadema’s painting is perfectly titled! https://www.encyclopedia.com/humanities/dictionaries-thesauruses-pictures-and-press-releases/coign-vantage

The focal point of the painting is a group of three young women, elegantly dressed in vibrant gowns, olive green, beige, white, and pink, standing on a marbled terrace, over a thrilling, vertiginous drop, an advantageous viewpoint, overlooking the sea below. May I suggest this is the island of Capri and the Bay of Naples, in the distance? The women stand against a marble railing and gaze down at the sea, where a luxuriously decked trireme is depicted arriving. The composition is further enhanced with the addition of an impressive bronze sculpture of an animal, wreathed with vibrant yellow flowers. Was the artist inspired by the Egyptian Sphinx he probably saw in Villa San Michele on Capri? Alma-Tadema would have visited the famous Villa after inspecting the sites at Pompeii and Herculaneum, seeking inspiration for his pictures, and gathering material for use as props for his paintings. https://www.christies.com/lot/lot-6426695?ldp_breadcrumb=back&intObjectID=6426695&from=salessummary&lid=1

Sir Lawrence Alma-Tadema, O.M., R.A., R.W.S., Anglo-Dutch Artist, 1836-1912
A Coign of Vantage (detail), 1895, Oil on Canvas, 63.8 x 44.7 cm, Private Collection https://makeupandbeautyblog.com/daily-photo/more-pics-of-a-coign-of-vantage/
The Sphinx at Villa San Michele, approximately 3200 years old, Red Granite, Villa San Michele, Anacapri, Italy https://www.villasanmichele.eu/collection

The painting A Coign of Vantage is a prime example of Alma-Tadema’s ability to transport viewers to a distant time and place, evoking a sense of nostalgia and fascination for the grandeur of ancient Rome. The painting captures the artist’s dedication to historical accuracy, his love for opulent settings, and his skill in creating an alluring atmosphere through his meticulous technique. This is a picture of grand luxe, according to the experts at Christie’s, ease and well-being, an escapist fantasy perfectly attuned to the wishes of a picture-buying public who reveled in the warmth of its Mediterranean light. At the height of his fame, his pictures of Ancient Rome, wealthy, secure, and insouciant, reflected the success enjoyed by the newly rich plutocrats of Victorian Britain, who had made their fortunes building another Empire, a couple of millennia later. https://www.christies.com/lot/lot-6426695?ldp_breadcrumb=back&intObjectID=6426695&from=salessummary&lid=1

A view of the Blue Parlor in the Temple of Wings Mansion, and Alma-Tadema’s painting ‘A Coign of Vantage’ as displayed in the Parlor… The contents of the Ann and Gordon Getty Collection in their Mansion, The Temple of Wings were auctioned at Christie’s (May 31 – June 15, 2023) https://www.artandobject.com/news/masterpieces-alma-tadema-moore-and-bouguereau-headline-getty-collection-auction

Sir Lawrence Alma-Tadema, born as Lourens Alma Tadema on January 8, 1836, and died on June 25, 1912, was a Dutch-born British painter. He is known for his meticulously detailed and beautifully rendered paintings depicting scenes from ancient civilizations, particularly ancient Rome, and Egypt. Alma-Tadema’s works often portrayed opulent interiors, lavish costumes, and intricate architectural details, capturing the splendor and decadence of the ancient world.

His paintings typically featured historical or mythological themes, and he was known for his thorough research and attention to detail. Alma-Tadema would often reconstruct historically accurate settings for his works, using models, props, and costumes to bring his visions to life. His compositions were carefully arranged, with an emphasis on color, light, and texture. They were highly sought after, and he had a significant influence on later artists. His attention to detail and ability to create immersive and visually stunning scenes made him one of the most successful painters of the late 19th century.

For a PowerPoint presentation of 10 Important Paintings by Sir Lawrence Alma-Tadema inspired by Ancient Rome, please… Check HERE!

Roman Enameled Glass

by ArtPowerpointsRoman Art
Goblet with a Gladiator, Begram Hoard, 1st century AD, Enameled Glass, Height:  cm, Guimet Museum, Paris, France https://twitter.com/AntiokhosE/status/1615092377340846089
Vase fragment depicting African Hunt, Begram Hoard, 1st century AD, Enameled Glass, Guimet Museum, Paris, France https://depts.washington.edu/silkroad/museums/mg/begram.html
Goblet with the abduction of Europe, Begram Hoard, 1st century AD, Enameled Glass, Height: 16 cm, Guimet Museum, Paris, France https://commons.wikimedia.org/wiki/File:Goblet_Abduction_of_Europa_Begram_Hoard_Guimet_MG21228_n01.jpg

The earliest glass vessel decorated with enameling, write the Corning Museum experts, dates from about 1425 BC. It successfully combines one of humankind’s oldest creative urges (the desire to draw on things) with one of the most advanced technologies of the ancient world (glassmaking). Interestingly, and surprisingly, the next step in decorating with enameling takes fourteen centuries to occur. The absence of enameling on Greek and Hellenistic glass, with no surviving artifacts or documentary descriptions, up until now, directs us to assume that both the concept of this type of decoration and the means to realize it were simply lost and long-awaited rediscovery. All changed during the early decades of the 1st century AD. The gap was bridged, and the technical challenges were achieved. The creation of luxurious Roman Enameled Glass vessels started and lasted over a period of about 300 years. https://www.cmog.org/article/enameled-glass-vessels-1425-bce-1800-decorating-process

Roman enameled glass artifacts fascinate me. They showcase a unique combination of glass craftsmanship and enamelwork, resulting in stunning decorative pieces. While I am not an expert in glass, I am eager to learn. The Corning Museum of Glass website provides valuable information on enameled glass, so allow me to address some questions, starting with “What” and “How.” A valuable addition will be the PowerPoint presentation I have compiled, featuring significant examples of Roman enameled glass artifacts from museums around the world… Click HERE! and judge for yourselves!  https://home.cmog.org/ and https://www.cmog.org/article/enameled-glass-vessels-1425-bce-1800-decorating-process

What is Enameled Glass? Enameled glass is a type of glass that has been decorated with a layer, or more, of colored or opaque vitreous enamel. Enamel is a powdered glass material that is mixed with pigments or metallic oxides to achieve various colors and effects. The enameling process involves applying the enamel powder onto the surface of the glass and then heating it in a low-temperature muffle kiln (about 965°-1300°F or 500°-700°C). This heat fuses the enamel to the glass, creating a durable and permanent bond. Sometimes, several firings are required to fuse the different colors of an elaborately enameled object. https://allaboutglass.cmog.org/definition/enamel and Objects and Techniques | The Techniques of Renaissance Venetian Glassworking (cmog.org)

Why did artists use the Enameled Glass technique? Enameled glass is often used for decorative purposes due to its ability to add color, pattern, and texture to glass surfaces. It can be found in various applications, such as art glass, stained glass windows, decorative panels, glassware, and architectural elements. The enamel coating on the glass can be transparent, allowing light to pass through, or opaque, blocking the transmission of light. The choice of enamel color, texture, and design can be customized to suit specific aesthetic preferences or design requirements.

How did Enameled Glass develop, chronologically up and including the Renaissance period, in Europe? A. Roman Period: The discovery of glassblowing during the Roman period made glass affordable and widely available for ordinary domestic purposes. However, the Romans also produced some of the most lavish luxury glass ever made. This is also the time when luxurious glass enamel originated as well. B. 5th – 12th Century AD: The Early Middle Ages saw less advancement in Enameled Glass in Europe due to the fall of the Western Roman Empire and societal changes. There’s evidence, however, of continuous tradition in the Byzantine Empire. C. Late Medieval Period: The first major revival of enameled glass occurred during the late Medieval period. This is also when we see the first instances of stained glass windows in churches, which used enamel for detailed painting and shading. Venice, and the island of Murano to be specific, became the greatest European Glass-making center. D. Renaissance Period: The development of enameled glass greatly increased during the Renaissance. In Venice/Murano, the most important center for glassmaking, artists developed new enameling techniques that allowed for greater detail and more vibrant colours. https://www.cmog.org/article/enameled-glass-vessels-1425-bce-1800-decorating-process

How can Roman Enameled Glass production be described aesthetically? The aesthetic effects of Roman artifacts made from enameled glass can be described as opulent, vibrant, and intricate. These effects were intended to showcase the wealth, status, and refined taste of their owners. The combination of glass and enamel craftsmanship resulted in a unique fusion of materials, creating objects that exuded beauty and sophistication.

Bowl fragments depicting Combat Scenes, Begram Hoard, 1st century AD, Enameled Glass, Guimet Museum, Paris, France https://twitter.com/SusanRahyab/status/1554483598748749824/photo/4

The vibrant colors used in Roman enameled glass, achieved through the application of enamel, added a sense of liveliness and richness to the artifacts. The various shades of blues, greens, yellows, reds, and whites created a visually dynamic and eye-catching effect. The colors were often complemented by the addition of gilding or gold leaf, further enhancing the luxurious appearance of the pieces.

The Bird Cup, 20-50 AD, Enameled Glass, Civic and Archaeological Museum, Locarno, Switzerland https://hls-dhs-dss.ch/it/articles/002115/2010-03-30/

The intricate scenes found in Roman enameled glass artifacts showcased the high level of skill and attention to detail of the artisans. Geometric designs, floral motifs, organic patterns, and figurative compositions were meticulously executed, creating a sense of complexity, visual depth, delicacy, and refinement to the overall design.

The layered and multicolored effects, achieved by applying enamel in successive layers, added a sense of dimensionality and complexity to the artifacts. The juxtaposition of different colors and patterns created a captivating visual interplay, drawing the viewer’s attention and enhancing the overall aesthetic appeal.

The aesthetic effect of Roman enameled glass production also reflects the broader artistic sensibilities of the Roman Empire. It embodies the fusion of influences from various cultures, including Hellenistic, Egyptian, and Near Eastern, resulting in a unique and eclectic style that was distinctively Roman.

For a PowerPoint, please… Check HERE!

Mycenaean Procession of Female Worshippers

by Bronze Age ArtGreek ArtMycenaean ArtPowerpoints
Procession of Mycenaean Female Worshippers from Kadmeia Palace of Thebes, c. 1400 BC, Wall Painting, Archaeological Museum of Thebes, Greece https://www.reddit.com/r/ArtefactPorn/comments/n6sgl8/mural_composition_showing_female_worshippers/

One of the most frequent themes in the Mycenaean wall painting is a procession of lifesize women in Minoan Dress (tight bodice with exposed breasts and flounced skirt), each figure bearing an offering and proceeding either to the left or right toward an unspecified goal, which was very likely a seated representation of the goddess. A circa 1400 BC fresco example, titled Mycenaean Procession of Female Worshippers comes, from the Kadmeia Palace in Thebes… and is exceptional! Three articles provided me with the necessary information so I can better understand the fresco’s importance. The same articles helped me codify six interesting facts about it… (see Bibliography)

Fact 1: Kadmeia Palace in Thebes was the nucleus of many important Greek Myths… it was connected to Gods and Heroes! The city of Thebes in ancient Greece has a rich mythological tradition. It starts with Kadmos, the Phoenician Prince, who searched for his abducted sister Europa and eventually settled in Boeotia, where he founded the city of Thebes, and built the first Palace. The myth of Oedipus, tragic in every aspect, and the riddle of the Sphinx, is equally known. The myth of the Seven Against Thebes revolves around the conflict between Eteocles and Polyneices, both sons of Oedipus, the fight over the rule of Thebes, and the heartbreaking end of Antigone, their sister, who became a symbol of resistance against unjust laws. Finally, the myth of Zeus, Semele, and Dionysus was closely connected to Thebes and the Palace of Kadmos.

Fact 2: The Greek archaeologist who discovered, in 1906, the Theban Palace, and subsequently the Procession of Female Worshipers fresco was Antonios Keramopoulos. In 1906 Antonios Keramopoulos was the first archaeologist to excavate, in the city of Thebes, a sizable and well-built, but burnt building of the Mycenaean period. He also discovered fragments of a Procession fresco, pieces of gold, agate or quartz artifacts, and numerous jars inscribed with the undeciphered then, Linear B script. Keramopoulos compared his discovery with similar discoveries in Mycenae or, for example, Pylos, and concluded that what he discovered was the Palace of Kadmos, the legendary founder of Thebes.

Architectural Plan of the Old Kadmeia Palace (Ground Floor ‘Court’ Area) in Thebes. The room marked with a blue Star is the area where the Procession fresco was found.
The Archaeological site of the Palace in Thebes http://www.austriaca.at/0xc1aa5576_0x0032aa44.pdf and https://www.mthv.gr/en/beyond-the-museum/tour-in-thebes/the-archaeological-area-of-the-mycenaean-palace-of-thebes-%E2%80%98kadmeio%E2%80%99/

Fact 3: The Procession of Female Worshipers fresco was discovered in Room N (marked with a Blue Star) of the Old Kadmeia Palace. Early during the Keramopoulos excavations, fragments of fresco pieces were discovered in Room N (marked with a Blue Star in the Photo). These fragments employed both the buon fresco and the fresco al secco techniques. Keramopoulos decided that these fragments were part of a long, probably 14 m, fresco presenting a life-size Procession of Female Worshipers, facing both right and left.

Fact 4: The Procession of Female Worshipers fresco found in the Old Kadmeia Palace dates from the Early 14th century BC ( LH III A period, 1400-1300 BC). It is the oldest such fresco discovered in mainland Greece. The Procession of Female Worshipers fresco in the Theban Palace is the oldest wall painting discovered in Boetia. In 1978, Dr. Christos Boulotis embarked on fresh research regarding this fresco. During his investigation, he stumbled upon “forgotten” pieces stored in the warehouse of the Theban Museum. Dr. Boulotis added these fragments to the existing Procession fresco and reassembled the fresco’s composition. By conducting extensive research, comparisons with Mycenaean frescoes, and new local finds, Dr. Boulotis proposed a date of the 14th century BC for the fresco.

Fact 5: The Procession of Female Worshipers fresco in the Palace of Thebes marks the beginning of the Boaetian fresco School of Painting. Dr. Christos Boulotis once again proposed the Palace of Thebes to be established as the focal point of a Boetian workshop, responsible for disseminating innovative ideas in fresco painting across the Palatial areas of Central Greece. To support his proposition, Dr. Boulotis drew comparisons between frescoes found in the Theban Palace, such as the Procession of Female Worshipers, and those discovered in locations like Gla and Orchomenos. Additionally, Dr. Boulotis put forth the idea that groups of itinerant artists, initially from Crete, introduced the Minoan style of fresco painting to Palatial centers in the Peloponnese. The same groups trained local Mycenaean artists who then transmitted the newly developed Mycenaean style of fresco painting to Thebes. The presence of resemblances in patterns, compositions, and styles further suggests a high probability that these groups of traveling artists possessed “pattern/composition books” for their prospective clients to choose from.

Museum View of the ‘Procession of Mycenaean Female Worshippers’ from the Palace of Thebes, late 2000 BC, Wall Painting, Archaeological Museum of Thebes, Greece https://www.mthv.gr/en/permanent-exhibition/mycenaean-period/#image-1

Fact 6: The Procession of Female Worshipers fresco in the Palace of Thebes is the oldest and the finest in mainland Greece. It presents a life-size Procession of Women, finely dressed facing both right and left. The Theban fresco was originally 14 meters long, consisting of three zones: 1. a decorative band in the upper part, 2. the main composition, known as the Procession of Female Worshipers, in the middle, and 3. a lower decorative zone, imitating marble. Interestingly to note is that all pigments were from natural materials, red and ocher, for example, came from iron oxides, and black from carbon. Equally interesting, is that red pigment was used by the Mycenaean painter to outline each female figure.

According to Dr. Immerwahr’s description, the painters of the Theban Procession fresco were excellent draftsmen capable of depicting the human form in a conventional manner while infusing it with a dose of naturalism, allowing the figures to be shown in various positions. The depicted women appear to be wearing the traditional Minoan dress, which is colorful and exquisitely adorned with patterned borders. Their long wavy hair cascades loosely down to their narrow waists. They have spit curls fashioned across the forehead, twisted shoulder coils, and ponytails, some short and others longer. All the women wear fine jewelry, including necklaces and bracelets, each of which is individualized with round-shaped beads, lentoid shapes, or papyriform designs.

This is a large mural composition and a unique fresco of female worshipers striding majestically in two opposite directions, perhaps towards a central female deity who receives their offerings. Archaeologists were able to reconstruct five women from the original composition, one of them facing left, and the other four facing right. According to the latest reconstruction of the fresco, as exhibited in the Archaeological Museum in Thebes, the female worshiper facing left is posing, showing her chest frontally and holding wild roses. Two of the remaining four women facing right are depicted in profile, one of them holding a heavy casket with jewelry, and the other holding wild roses as well. The remaining two worshipers are depicted showing their frontal chests, holding lilies, and a luxury vase, perhaps filled with aromatic oil.

For a PowerPoint on the Mycenaean Procession of Female Worshippers Fresco, please… Check HERE!

Bibliography

1. Aegean Painting of the Bronze Age by Sara A. Immerwahr, The Pennsylvania State University Press, 1990 https://eclass.uoa.gr/modules/document/file.php/ARCH133/%CE%91%CF%81%CF%87%CE%B5%CE%AF%CE%B1%20%CE%B2%CE%B9%CE%B2%CE%BB%CE%B9%CE%BF%CE%B3%CF%81%CE%B1%CF%86%CE%AF%CE%B1%CF%82%20%CF%83%CE%B5%20pdf/Immerwahr%2C%20Aegean%20painting%20in%20the%20Bronze%20Age.pdf

2. Χρήστος Μπουλιώτης, Η Τέχνη των Τοιχογραφιών στη Μυκηναϊκή Βοιωτία, ΕΠΕΤΗΡΙΣ ΤΗΣ ΕΤΑΙΡΕΙΑΣ ΒΟΙΩΤΙΚΩΝ ΜΕΛΕΤΩ, ΤΟΜΟΣ Γ’, ΤΕΥΧΟΣ α’, Αθήνα, 2000 σελίδες 1095-1149 http://users.uoi.gr/gramisar/prosopiko/vlaxopoulos/epetiris.pdf

3. The House of Kadmos in Mycenaean Thebes Reconsidered: Architecture, Chronology, and Context by Anastasia Dakouri-Hild, The Annual of the British School at Athens, Vol. 96 (2001), pp. 81-122 (47 pages) https://www.jstor.org/stable/30073274

An interesting Video titled Mycenaean Thebes, by @HellenicCosmos… https://www.youtube.com/watch?v=rzqIHbCdydk

In the Month of July by Paul Joseph Constantin Gabriël

by 19th century ArtArtPowerpoints
Paul Joseph Constantin Gabriël, Dutch Artist, 1828-1903
A Windmill on a Polder Waterway, Known as ‘In the Month of July’, 1889, oil on canvas, 102×66 cm, Rijksmuseum, Amsterdam, Netherlands
https://www.flickr.com/photos/paulodykes/41487209442

Behold! a giant am I! / Aloft here in my tower, / With my granite jaws I devour / The maize, and the wheat, and the rye, / And grind them into flour.     /     I look down over the farms; / In the fields of grain I see / The harvest that is to be, / And I fling to the air my arms, / For I know it is all for me.     …     Ah, how the world has changed / Since the days of the old windmill, / When July’s hot breath would still / Its sails, and the sun would parch and dry / The wind that once turned it at will! writes Henry Wadsworth Longfellow. His poem The Windmill captures the power and importance of windmills in the past, and how they were able to harness the power of the wind to grind grain into flour. The mention of July’s hot breath and the parching sun also gives a sense of the summer season. The painting In the Month of July by Paul Joseph Constantin Gabriël exhibits the same characteristics. https://www.hwlongfellow.org/poems_poem.php?pid=311  

Paul Joseph Constantin Gabriël (1828-1903) was a Dutch painter known for his landscape paintings. He was born in Amsterdam and trained at the Royal Academy of Art in that city. Gabriël’s early work was influenced by the Barbizon school of painting, which emphasized the realistic representation of nature. Later, he was influenced by the Hague School of Painting, which focused on capturing the atmosphere and mood of the landscape. Gabriël became a leading member of this movement.

His paintings often depict the Dutch countryside, with its wide open spaces, flat fields, and skies filled with clouds. He was particularly interested in the effects of light and atmosphere, and his work often has a serene and contemplative quality. Gabriël’s paintings were well received during his lifetime and he received numerous awards and honors. He exhibited regularly in the Netherlands and also showed his work in Paris and London. His paintings can be found in many museums around the world, including the Rijksmuseum in Amsterdam, the Kröller-Müller Museum in Otterlo, and the National Gallery of Art in Washington, D.C. Gabriël was also a respected teacher and had many students who went on to become successful painters. He died in Scheveningen, Netherlands, in 1903.

Our country is saturated with colour. … I repeat, our country is not grey, not even in grey weather, nor are the dunes grey… wrote Constant Gabriël in a letter, and unlike many Hague School painters, he actually enjoyed depicting a beautiful summer day. The painting In the Month of July by Paul Joseph Constantin Gabriël showcases exactly what he believed! https://www.rijksmuseum.nl/en/collection/SK-A-1505

Paul Joseph Constantin Gabriël, Dutch Artist, 1828-1903
A Windmill on a Polder Waterway, Known as ‘In the Month of July’ (detail), 1889, oil on canvas, 102×66 cm, Rijksmuseum, Amsterdam, Netherlands
https://www.facebook.com/artcast.tv/photos/a.163558460467584/1693309424159139/?paipv=0&eav=AfYjlWfaHMycMhlM4ACQ1Vz0rULzCzRoWXl-_3-zb_8JMGG0fhXBknkcrGxRS4Zq58w

The painting, completed in 1889 and currently in the collection of the Rijksmuseum, depicts a typical Dutch landscape in the height of summer. In the foreground, there is a field of tall grass and wildflowers, while in the distance there is a small village nestled among trees. The sky is filled with fluffy clouds, and the light of the sun is reflected in the water in the foreground. The painting is characteristic of Gabriël’s work, which often focused on the Dutch countryside and the effects of light and atmosphere. His paintings typically have a calm, contemplative quality, and ‘In the Month of July’ is no exception.

Paul Joseph Constantin Gabriël, Dutch Artist, 1828-1903
A Windmill on a Polder Waterway, Known as ‘In the Month of July’ (detail), 1889, oil on canvas, 102×66 cm, Rijksmuseum, Amsterdam, Netherlands
https://www.facebook.com/artcast.tv/photos/a.163558460467584/1693309424159139/?paipv=0&eav=AfYjlWfaHMycMhlM4ACQ1Vz0rULzCzRoWXl-_3-zb_8JMGG0fhXBknkcrGxRS4Zq58w

Gabriël was associated with the Hague School of Painting, which emphasized realism and an interest in capturing the atmosphere and mood of a particular place. He was also influenced by the Barbizon School of Painting, which emphasized the realistic representation of nature. His paintings often feature the flat fields and wide skies of the Dutch countryside, and he was particularly interested in the changing effects of light and weather. In the Month of July is a beautiful example of Gabriël’s work, showcasing his skill at capturing the beauty and serenity of the Dutch landscape in the summer season.

For a PowerPoint on Paul Joseph Constantin Gabriël’s oeuvre, please… Check HERE!

Henri III being Welcomed to the Contarini Villa

by 18th century ArtArtPowerpointsRococo
Giambattista Tiepolo, Italian Artist,1696 – 1770
Henri III being Welcomed to the Contarini Villa, circa 1745, fresco mounted on canvas, 7,29 x 4,02 m, Musée Jacquemart-André, Paris, France (my amateurish attempt to Photography)

No other work by Tiepolo could be closer to our hearts, as it seems to have been created for us (the people of France). The last great Venetian painter and an episode in the history of France: is this not the finest possible blend of everything Venetian and French? This is how the fresco Henri III being Welcomed to the Contarini Villa, in Musée Jacquemart-André, Paris, was presented to the French public by the ‘librettist’ of the Gazette des Beaux-Arts in 1896.  https://gallica.bnf.fr/ark:/12148/bpt6k203140w/f132.item (page 121-130) and https://www.musee-jacquemart-andre.com/en/works/henri-iii-being-welcomed-contarini-villa

Giambattista Tiepolo, also known as Giovanni Battista Tiepolo, is widely regarded as one of the greatest painters of the Rococo period. Tiepolo came from a family of artists, and he received his initial artistic training from his father, Giovanni Battista Tiepolo the Elder. Tiepolo’s talent and artistic abilities quickly gained recognition, leading to commissions for various decorative frescoes in palaces and churches across Europe. His works showcased his mastery of composition, grandeur, and a distinctive sense of lightness and elegance.

Giambattista Tiepolo, Italian Artist,1696 – 1770
Henri III being Welcomed to the Contarini Villa (detail), circa 1745, fresco mounted on canvas, 7,29 x 4,02 m, Musée Jacquemart-André, Paris, France (my amateurish attempt to Photography)

Circa 1745 Tiepolo was commissioned to paint a historic event for the Contarini family, and specifically for Villa Contarini in Piazzola sul Brenta. Standing in the Veneto area, only a few kilometers from Padua and Vicenza, on the ruins of an ancient castle built by the Dente family around the year 1000, the Villa was a farmhouse up until the mid-17th century, when Federico Contarini, one of the procurators of San Marco, expanded the building, turning it into a palace. Villa Contarini reflects Palladio’s signature style, which is characterized by symmetry, proportion, and the grandeur of Venetian nobility. https://www.villacontarini.eu/presentation/?lang=en

Andrea Michieli, called Vicentino, 1542-1617
Entrance of King Henry III of France at San Nicolo al Lido, 1593, oil on canvas
400 x 810 cm, Sala delle Quattro Porte, Palazzo Ducale, Venice, Italy
Andrea Michieli, called Vicentino, 1542-1617
Entrance of King Henry III of France at San Nicolo al Lido, 1593, oil on canvas
400 x 810 cm, Sala delle Quattro Porte, Palazzo Ducale, Venice, Italy

Venetian grandeur was what Henri III of France experienced in 1574 while traveling from Poland to France in order to accept the French Crown. He arrived in Venice on 18 July 1574 and stayed in La Serenissima for ten days of official festivities and sightseeing. His host, Doge Alvise Contarini, welcomed him in front of the church of San Nicolò on the Lido for the day’s lavish reception, in front of a triumphal arch and an open loggia supported by ten Corinthian columns, designed by Andrea Palladio. The days that followed were dazzling with regattas, theatrical and musical performances, sightseeing, attendance of administrative events, phantasmagoric balls, and meetings with all members of Venice’s aristocracy and intelligentsia. https://www.christies.com/en/lot/lot-5529487

The day of his departure, Tuesday, the 27th of July, was equally grand. Henri III, accompanied by the Doge of Venice and all the members of the Venetian Senate, traveled up to Lissa-Fusine, where they bid farewell. The French Prince, soon to be King of France, was not left alone during his boat trip down the Brenta en route to Padua. He was still accompanied by ambassadors of La Serenissima, and Federico Contarini, a close relative of the Doge, who invited the Prince to visit the countryside Contarini Villa, for an impromptu stopover, probably the last lavish luncheon on Venetian soil. Henri III graciously accepted… and the rest is history, documented, two hundred years later, by Giambattista Tiepolo. https://gallica.bnf.fr/ark:/12148/bpt6k203140w/f132.item (pages 121-130)

Tiepolo’s style was characterized by vibrant colors, graceful figures, and dramatic, dynamic compositions. His brushwork displayed a remarkable sense of movement and fluidity, and his use of light and shadow added depth and dimension to his paintings. His fresco for Villa Contarini is a remarkable composition that showcases the artist’s style, his mastery of the fresco technique, and his ability to depict grand scenes with intricate details. The fresco depicts the historical event of Henri III being welcomed to the Contarini Villa by members of the influential Contarini family. The composition is visually captivating, with a dynamic arrangement of figures, a strong sense of movement, and attention to detail. The artist’s skillful brushwork and use of chiaroscuro contribute to the overall richness and realism of the fresco, while the intricate costumes and ornate accessories worn by the depicted figures reflect the fashion of the period. The fresco serves as a testament to Tiepolo’s technical prowess and his ability to capture historical events in a visually captivating and engaging manner.

Giambattista Tiepolo, Italian Artist,1696 – 1770
Henri III being Welcomed to the Contarini Villa, circa 1745, fresco mounted on canvas, 7,29 x 4,02 m, Musée Jacquemart-André, Paris, France

The amazing fresco Henri III being Welcomed to the Contarini Villa, is in Musée Jacquemart-André, in Paris. It is the Museum’s piece de resistance as it crowns the mansion’s spectacular Winter Garden. Edouard André and his wife Nélie Jacquemart, were great collectors of art. They bought the Tiepolo fresco in 1893, dismantled it, and transferred it from Veneto to their townhouse on the Boulevard Haussmann in Paris, the site of what today is the Musée Jacquemart-André.

The Winter Garden, the Staircase, and Tiepolo’s painting of Henri III being Welcomed to the Contarini Villa, Musée Jacquemart-André, Paris, France

For a PowerPoint on Tiepolo’s oeuvre, please… Check HERE!

I enjoyed reading Diplomatic Gifts on Henri III’s Visit to Venice in 1574, by Evelyn Korsch, Nicola Imrie, Pamela J. Warner, Evelyn Korsch, Studies in the Decorative Arts, Vol. 15, No. 1 (Fall-Winter 2007–2008), pp. 83-113 (31 pages) https://www.jstor.org/stable/10.1086/652845?read-now=1#page_scan_tab_contents

The short Video, titled, TIEPOLO au musée Jacquemart-André, by Patricia Carles, is also interesting to watch… https://www.youtube.com/watch?v=LwxPvWPEVTk

Photo Credits: https://twitter.com/prattinvenice/status/1352194531098308609 and https://www.musee-jacquemart-andre.com/en/works/henri-iii-being-welcomed-contarini-villa and https://upload.wikimedia.org/wikipedia/commons/c/c7/Venezia_Palazzo_Ducale_Innen_Sala_delle_Quattro_Porte_Gem%C3%A4lde.jpg and https://www.cparti.fr/description.html?id=118

Consul Areobindus Dagalaifus Areobindus

by ArtByzantine ArtByzantine IvoriesByzantiumEarly Christian ArtPowerpointsSocial Studies
Leaf of a Diptych with Consul Areobindus, 506 AD, elephant ivory bas-relief, 39x13cm, Musée de Cluny, Paris, France (my amateurish attempt at Photography)

Devant une tribune, write the Cluny Museum Experts, paré de ses insignes, Areobindus est entouré d’assesseurs. La main droite levée, il lance les jeux avec la “mappa”, sorte de linge qui servait à signaler le début des jeux du cirque. En dessous sont représentés ces jeux : des gladiateurs combattent des animaux sauvages. On the 10th of May, 2023, I was in Paris, at the Cluny Museum, paying my respects to Consul Areobindus Dagalaifus Areobindus. It was a moment I will always cherish! https://www.musee-moyenage.fr/collection/oeuvre/diptyque-du-consul-areobindus.html

Let’s answer some questions starting with Who, What, Where, When, Why, and How…

What do we know about Late Roman / Early Byzantine Consular Diptychs? They were a form of ceremonial and commemorative artwork that originated in the late Roman Empire. They were created in the form of hinged wooden panels, often covered in ivory or other valuable materials. Consular diptychs typically consisted of two panels, known as leaves, which were decorated with relief carvings and inscriptions. These diptychs were presented as gifts to friends and supporters, by newly appointed consuls, who were the highest-ranking officials in the Roman Empire. They served as a record and celebration of their consulship. The inscriptions on the diptychs included the consul’s name, the names of the emperor or emperors in office during their consulship, and sometimes additional details such as the consul’s accomplishments or notable events from their term.

What do Consular Diptychs usually feature as their decoration? They often featured intricate and detailed relief carvings depicting various scenes, including mythological figures, military victories, and allegorical representations of virtues. These carvings were highly symbolic and conveyed messages of power, prestige, and legitimacy. Many consular diptychs have been lost or damaged. However, a number of surviving examples provide valuable insights into the art, culture, and political context of the late Roman / Early Byzantine Empire. They are significant historical artifacts that shed light on the individuals who held the highest offices in the Roman / Byzantine state.

Leaf of a Diptych with Consul Areobindus (detail upper part), 506 AD, elephant ivory bas-relief, 39x13cm, Musée de Cluny, Paris, France

Who was Consul Areobindus? Areobindus Dagalaifus Areobindus was a high-ranking Byzantine official and military leader during the reign of Emperor Anastasius I Dicorus (c. 431 – 518) in the 6th century AD. Areobindus was a scion of an extremely distinguished family of Roman and  Alanic-Gothic heritage. He was married to Anicia Juliana, the daughter of Olybrius, briefly the western Roman Emperor in 472, and his wife Placidia, thus, connecting Areobindus to the Theodosian dynasty. Along with his wife, considered to be the most aristocratic and the wealthiest inhabitant of Constantinople, Aerobindus spent a life of military and administrative distinction. In 506 AD, he served as consul of the Byzantine Empire. The consular office, though it had lost its administrative functions by this time, was still an important honorific title. The period of Areobindus’s consulship corresponded with the early period of Byzantine history, which was characterized by frequent wars with Sassanid Persia, the Germanic tribes, and other neighbors, as well as a flowering of Greek and Roman art and culture.

Leaf of a Diptych with Consul Areobindus (detail – faces), 506 AD, elephant ivory bas-relief, 39x13cm, Musée de Cluny, Paris, France

When was the Consular Diptych of Areobindus created? It was created in 506 AD, in Constantinople, when Areobindus was elected Consul of the Eastern Roman / Byzantine Empire.

How can the composition of Areobindus’s Diptych be described? Areobindus’s Consular Diptych is one of the best preserved and most intricately designed examples of Byzantine Consular Diptychs. Under the inscription C[omite] SAC[ri] STA[buli] ET M[agister] M[ilitum] P[er] OR[ientum] EX C[onsule] C[onsul] OR[dinarius] the artist of the Diptych presents Areobindus, in strict frontality, dressed in consular robes and holding the traditional symbols of the consul’s office, including a mappa circensis (a handkerchief with which the Consul gave the signal for the games to commence) and an elaborate scepter. Flanked by two of his assistants, the Consul is depicted presiding over the circus games sitting on a luxurious chair with curved legs and no back. The quality of the carving and the level of detail in this scene attest to the skill of the artist and the luxury of the object.

Leaf of a Diptych with Consul Areobindus (detail lower part), 506 AD, elephant ivory bas-relief, 39x13cm, Musée de Cluny, Paris, France
Leaf of a Diptych with Consul Areobindus (detail lower part with spectators), 506 AD, elephant ivory bas-relief, 39x13cm, Musée de Cluny, Paris, France

The lower part of the described Diptych depicts scenes of circus games, typically referred to as the venationes. These were staged hunts or fights involving wild animals, a popular form of public entertainment, at the time, alongside chariot races and gladiatorial combats. The venationes depicted in the Areobindus Diptych, showcase a range of exotic and dangerous animals, symbolizing both the consul’s power and the grand spectacle of the games themselves. It is a surprising, delightful scene. The artist exhibits originality, energy, and an unexpected variety of poses and gestures.

Why is the Consular Diptych of Areobindus significant? Simply put, it serves as an exceptional example of Early Byzantine artistry and craftsmanship. Its intricate relief carving depicts an important historical figure of the time, providing valuable insights into the iconography and symbolism of the era. It also serves as a tangible connection to the tradition of Consular Diptychs, which were presented as gifts to high-ranking officials or distributed during official ceremonies. It exemplifies the use of art and objects as a means of political communication and the display of status and authority during the Early Byzantine period.

Leaf of a Diptych with Consul Areobindus, 506 AD, elephant ivory bas-relief, 39x13cm, Musée de Cluny, Paris, France

Where is the Consular Diptych of Areobindus currently located? The Consular Diptych of Areobindus is an invaluable resource for historians studying the Byzantine Empire and the broader late antique period. It is an artifact that connects us directly with the people, events, and cultures of the past. It is part of the Louvre Museum Collection, but it is exhibited in the Cluny Museum, also known as the Musée National du Moyen Age, in Paris.

How can the Cluny Museum best be described? The Musée de Cluny, also known as the Musée National du Moyen Age, or the National Museum of the Middle Ages, is located in Paris, France. It is housed in two significant historic buildings: the 15th-century Hôtel de Cluny and the Gallo-Roman thermal baths dating back to the 3rd century. The museum is renowned for its extensive collection of medieval artifacts, including tapestries, sculptures, manuscripts, and metalwork. Its most famous work is arguably the “The Lady and the Unicorn” series of tapestries, a masterpiece of the late Middle Ages.

The architecture of the museum itself is notable. The Hôtel de Cluny is a fine example of late medieval secular architecture, with its Gothic-style features and well-preserved rooms. The adjacent thermal baths showcase the grandeur of Roman architecture and provide an interesting contrast. The museum is also known for its medieval-inspired gardens. These gardens are designed based on medieval texts and archaeological research and serve as a quiet oasis in the bustling city of Paris. As a whole, the museum provides a unique experience for visitors to immerse themselves in the rich history and culture of the Middle Ages, serving as a testament to the creativity, skill, and artistry of the period.

For a PowerPoint inspired by the Consul Areobindus Dagalaifus Areobindus BLOG POST, please… Check, HERE!

Photo Credits

https://www.musee-moyenage.fr/collection/oeuvre/diptyque-du-consul-areobindus.html

https://el.wikipedia.org/wiki/%CE%91%CF%81%CF%87%CE%B5%CE%AF%CE%BF:Areobindus_presides_over_the_games_MNMA_Cluny_13135_n02.jpg

https://fr.m.wikipedia.org/wiki/Fichier:Areobindus_presides_over_the_games_MNMA_Cluny_13135_n03.jpg

https://www.facebook.com/photo?fbid=600976638725848&set=pcb.600976745392504

https://www.facebook.com/photo/?fbid=3193819524018904&set=comment-f%C3%AAter-son-%C3%A9lection-en-remerciant-ses-plus-fid%C3%A8les-partisans-la-tradition