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

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!

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!

Charon crossing the Styx by Joachim Patinir

by 16th century ArtArtFlemish ArtNorthern RenaissancePowerpointsRenaissanceRenaissance Art
Joachim Patinir, 1480-1524
Charon crossing the Styx, 1520 – 1524, Oil on Panel, 64×103 cm, Prado Museum, Madrid, Spain https://www.museodelprado.es/en/the-collection/art-work/charon-crossing-the-styx/c51349b6-049e-476c-a388-5ae6d301e8c1

A horrible ferryman keeps these waters and streams / in fearful squalor, Charon, on whose chin stand enormous, / unkempt grey whiskers, his eyes stand out in flame and / a filthy garment dangles by a knot from his shoulders. / He punts the boat with his pole, handles the sails / and carries bodies across in his murky boat; he is / old now, but for a god old age is raw and green… This is how Virgil describes the Ferryman of the Underworld in his Aeneid… On the other hand, the painting of Charon crossing the Styx by Joachim Patinir presents us with a more serene image of Charon. While he still punts the boat with his pole, he does not exude the same fearsome aura as Virgil’s character. Instead, Patinir’s Charon appears more human and approachable, reflecting the artist’s tendency to soften the harsher elements of myth. https://www.pantheonpoets.com/poems/charon-the-ferryman/

Joachim Patinir’s Charon Crossing the Styx is a masterful example of Northern Renaissance art, encapsulating the technical prowess and the thematic depth characteristic of the period. Painted in the early 16th century, this work illustrates the mythological journey of Charon, the ferryman, transporting souls across the river Styx to the afterlife. Patinir, renowned for his innovative approach to landscape painting, uses the vast, meticulously detailed scenery to heighten the narrative’s dramatic tension. The interplay of light and shadow, combined with symbolic elements embedded within the landscape, invites viewers to explore themes of morality, judgment, and the human condition, making Charon Crossing the Styx a visual feast and a profound philosophical inquiry.

Aegidius Sadeler, –1629 after Albrecht Dürer, 1471–1528
Portrait of Joachim Patinir, between 1585 and 1589, Lead pencil, little pen in grey, over preliminary drawing in pencil, 17.1×13.7 cm, Herzog Anton Ulrich Museum, Germany https://commons.wikimedia.org/wiki/File:Aegidius_Sadeler_(after_Durer)_-_Portrait_of_Joachim_Patinir.jpg

Joachim Patinir, born around 1480 in Dinant or Bouvignes, present-day Belgium, is a significant figure in the Northern Renaissance. Patinir trained and worked in Antwerp, which was a major cultural hub during his lifetime. Though not much is known about his personal life, records indicate that he joined the Antwerp Guild of St. Luke in 1515, solidifying his status as a master painter. His career was relatively brief as he died in 1524, yet he left a lasting impact on the art world, particularly through his contributions to landscape painting. Patinir’s works often blend religious themes with expansive, detailed landscapes, earning him recognition and admiration among his contemporaries and subsequent generations.

Patinir’s artistic style is characterized by his pioneering approach to landscape painting, which he often used as a primary subject rather than merely a backdrop. His compositions are notable for their meticulous detail, vibrant use of colour, and imaginative integration of natural and fantastical elements. Patinir’s landscapes are typically vast and panoramic, with a high horizon line that allows for an expansive view of the natural world. This technique creates a sense of depth and scale, inviting viewers to immerse themselves in the scenery. Additionally, his works frequently incorporate symbolic elements that enhance the narrative and thematic depth, such as rivers representing the journey of life and mountains symbolizing spiritual ascent. Patinir’s ability to fuse human figures within these grand landscapes seamlessly showcases his unique vision and has earned him a lasting legacy in art history.

Joachim Patinir, 1480-1524
Charon crossing the Styx (detail), 1520 – 1524, Oil on Panel, 64×103 cm, Prado Museum, Madrid, Spain https://canon.codart.nl/artwork/landscape-with-charon-crossing-the-styx/

Charon Crossing the Styx by Joachim Patinir, housed in the Prado Museum, is a striking example of Flemish Renaissance landscape painting. Created around 1520-1524, this work captures the mythological scene of Charon ferrying souls across the River Styx to the underworld. Patinir’s detailed landscape divides the canvas space vertically into three zones: one on either side and the third occupied by the broad river in the center, on whose opaque and mirror-like surface Charon steers his boat. Patinir’s detailed landscape juxtaposes a lush, heavenly paradise on the left and a barren, hellish domain on the right. For the iconography of this subject, Patinir draws together biblical images and classical sources. An angel on the promontory, another two accompanying the souls not far away, and a few more with other tiny souls in the background allow us to recognize the paradise on the left as a Christian heaven, not the Elysian Fields. On the other hand, the dog Cerberus seems to identify the inferno shown on the right as Hades, thus associating it with Greek mythology, as do Charon and his boat. Charon’s boat, carrying a solitary soul, navigates the murky waters between these symbolic worlds. The painting is notable for its meticulous detail, vivid colouration, and dramatic interplay between light and shadow, encapsulating the moral dichotomies of salvation and damnation.

Joachim Patinir, 1480-1524
Charon crossing the Styx (detail), 1520 – 1524, Oil on Panel, 64×103 cm, Prado Museum, Madrid, Spain https://canon.codart.nl/artwork/landscape-with-charon-crossing-the-styx/
Joachim Patinir, 1480-1524
Charon crossing the Styx (detail), 1520 – 1524, Oil on Panel, 64×103 cm, Prado Museum, Madrid, Spain https://canon.codart.nl/artwork/landscape-with-charon-crossing-the-styx/

According to Prado Museum experts, Patinir’s painting is inspired by St Matthew`s Gospel, and …reflects the pessimism of his turbulent times, with the Protestant Reformation gaining momentum after the appearance of Martin Luther`s Ninety-Five Theses in Wittenberg in 1517… and thus converts this work into a memento mori, a reminder to all those who contemplate it that they must prepare for the moment of death, and that the hard road must be chosen in imitation of Christ, ignoring false paradises and deceitful temptations.

It is not known what prompted Patinir’s patron to commission this work or where it was meant to hang. Evidently, it is not an altarpiece but a cabinet painting, suited to a humanist environment. The painter, likely with help from a client or mentor, drew inspiration from earlier depictions of heaven and hell, emphasizing the role of landscape and reducing the number of demons and damned souls on the Underworld’s side. Both the drawing and the colour handling indicate this painting was an autograph work by Patinir, as the central figure of Charon shows his distinctive style.

Charon Crossing the Styx remains a significant work in art history, showcasing Patinir’s artistic skill and his ability to convey complex themes through visual art. Seen as a masterpiece that exemplifies the depth and innovation of Northern Renaissance art, and combines mythological narrative with an unprecedented focus on landscape to explore profound human themes, Patinir’s Charon Crossing the Styx is a vision to hold!

For a PowerPoint Presentation of Joachim Patinir’s oeuvre, please… Check HERE!

Count Issepo da Porto and his son Adriano

by 16th century ArtArtHigh RenaissanceItalian Renaissance ArtPowerpointsRenaissanceRenaissance ArtVenetian Art
Paolo Veronese, 1528–1588 
Portrait of Iseppo da Porto and his son Adriano, circa 1555, Oil on Canvas, 247×133 cm, Uffizi Gallery, Florence, Italy https://commons.wikimedia.org/wiki/File:Paolo_Veronese_041.jpg

On Father’s Day consider the majestic, full-length portraits by Veronese, which celebrated the da Porto family, showcasing Count Issepo da Porto and his son Adriano alongside Countess Livia da Porto Thiene and her Daughter Deidamia. These paintings, originally placed in their Vicenza palace designed by Andrea Palladio, symbolize a family’s enduring connection and heritage. Just as Veronese’s art captures the richness of family life and the protection and care provided by fathers, Father’s Day allows us to honour and appreciate the fathers and father figures who have shaped our lives with their love and guidance.

Paolo Veronese, 1528–1588 
Portrait of Countess Livia da Porto Thiene and her Daughter Deidamia, 1552, Oil on Canvas, 208.40×121 mm, Walters Art Museum, Baltimore, USA https://commons.wikimedia.org/wiki/File:Paolo_Veronese_-_Portrait_of_Countess_Livia_da_Porto_Thiene_and_her_Daughter_Deidamia_-_Google_Art_Project.jpg
Portrait of Iseppo da Porto and his son Adriano, circa 1555, Oil on Canvas, 247×133 cm, Uffizi Gallery, Florence, Italy https://commons.wikimedia.org/wiki/File:Paolo_Veronese_041.jpg

The artist who created the double portraits, Father and Son, Mother and Daughter, of the da Porta family is Paolo Veronese, born Paolo Caliari in 1528 in Verona, Italy, one of the most prominent painters of the Venetian Renaissance. Trained in the workshop of local master Antonio Badile, Veronese’s early work reflects the influence of his native city’s art and architecture. Moving to Venice in the early 1550s marked a significant turning point in his career, allowing him to immerse himself in the city’s vibrant artistic community. Known for his vivid use of colour, dynamic compositions, and grandiose themes, Veronese quickly established himself as a master of large-scale paintings, creating works that adorned palaces, churches, and public buildings. His integration of classical themes with contemporary Venetian culture, coupled with his skilful rendering of fabrics, textures, and architectural elements, distinguished him from his contemporaries and earned him widespread acclaim.

Among Veronese’s most notable achievements are his grand frescoes and altarpieces, such as the Feast in the House of Levi and the Wedding at Cana, which showcase his ability to blend narrative complexity with a sense of opulence and theatricality. His portraits, on the other hand, like those of the da Porta family, demonstrate his keen ability to capture individual character and status, further cementing his reputation as a master portraitist. Veronese’s work not only exemplified the ideals of the High Renaissance but also laid the groundwork for the Baroque movement that followed. His legacy endures through his contributions to the development of Venetian art, influencing generations of artists and securing his place in the pantheon of great Renaissance painters.

Count Issepo da Porto, a nobleman from Vicenza, and his young son Adriano, painted by Paolo Veronese around 1555, make a masterful representation of Renaissance portraiture. Veronese’s skilful use of colour, light, and composition creates a striking and intimate portrayal of the father and son duo. In the portrait, Count Issepo da Porto is depicted standing, exuding an air of authority and elegance. He is dressed in luxurious Renaissance attire, characterized by rich, very dark fabrics and elaborate details, which signify his high social status. The count’s pose is dignified, with one hand resting on his hip and the other gently placed over his son’s shoulder, establishing a sense of connection and paternal care. His facial expression is composed and confident, reflecting his stature and the responsibilities that come with his position.

Adriano, the count’s first-born son, stands beside him, dressed in similarly fine clothing, lighter in tone, that mirrors his father’s, suggesting both the boy’s noble lineage and the care taken in his upbringing. Adriano’s pose is more relaxed, illustrating a sense of affection and dependence. The interaction between the two figures conveys a tender familial bond, enhanced by Veronese’s attention to the details of their postures, expressions, clothing, and the subtle interplay of light and shadow.

The background of the painting is relatively subdued, focusing the viewer’s attention on the figures and their relationship. Veronese’s use of colour, particularly the rich, dark, and warm tones, and the meticulous rendering of textures, such as the fabrics and the skin tones, demonstrate his mastery in creating lifelike and engaging portraits. The Portrait of Count Issepo da Porto and his son Adriano not only captures the likeness of the subjects but also conveys a narrative of lineage, status, and the deep familial connection between father and son.

For a PowerPoint, titled 10 Masterpieces by Paolo Veronese, please… Check HERE!

The Labours of the Months by Luca della Robbia

by 15th century Art15th century Italian Renaissance ArtArtItalian Renaissance ArtPowerpointsRenaissanceRenaissance Art
Luca della Robbia, 1399/1400–1482
Labours of the Months: June, 1450s, Glazed terracotta, Diameter: 57 cm, Victoria and Albert Museum, London, UK https://www.wga.hu/frames-e.html?/bio/r/robbia/luca/biograph.html

…Which gives into the triumphant and lovely / study, / that has such talent and order and measure / that it represents angelic exultation, / With complete art in inlays and painting, / in perspective and carvings sublime, / and in great mastery of architecture. / There are great numbers of highly ornate books / and vases of alabaster and chalcedony / that are decorated with gold and silver. / And all things there are beautiful and good, / some by nature and others with human talent / made thus with whole perfection… This is how, in Terze Rime, the anonymous Italian 15th-century poet describes the famous studietto, created for Piero de’ Medici in the 1450s. It is the room for which the terracotta roundels of The Labours of the Months by Luca della Robbia were created to adorn the ceiling. https://www.jstor.org/stable/3048729?read-now=1&seq=5#page_scan_tab_contents

In the context of the Renaissance, a studietto or studiolo was a personal space, often elaborately decorated with paintings, sculptures, and frescoes that reflected its owner’s intellectual pursuits and tastes. These rooms were not just private retreats but also places to store and exhibit collections that demonstrated the owner’s wealth, power, and intellectual interests. The decoration and objects within often had symbolic meanings related to virtues, wisdom, and learning. The Medici Palace, a museum since 1974, reflects the grandeur and influence of the Medici family throughout its architecture and the art it houses. Within its walls, in the early 1450s, a studietto was created for Piero de’ Medici, unfortunately destroyed, when the Medici Palace was remodelled in the 17th century. According to Paula Nuttall… the studietto was a small, intimate room intended for study, contemplation, and display.  Here were kept the most precious objects in the Medici’s collection: costly illuminated books, classical coins, cameos and vases, medieval ivories and goldsmiths’ work, and a tiny painting by the great Netherlandish master Jan van Eyck.  Piero, who suffered from gout and was often confined indoors, is said to have taken great delight in being carried to his studietto, whiling away the hours in contemplating all these objects. https://www.vam.ac.uk/blog/museum-life/twenty-objects-twenty-years-labours-months-florence-c1450

The Luca della Robbia roundels of the Labours of the Months as displayed in the Victoria and Albert Museum, London, UK
https://umbriaandtuscanyunravelled.blogspot.com/2015/06/object-in-focus-june-2015-june-one-of.html
The Luca della Robbia roundels of the Labours of the Months as displayed in the Victoria and Albert Museum, London, UK https://commons.wikimedia.org/wiki/File:Luca_della_robbia,_volta_dello_studiolo_di_piero_de%27_medici.JPG

Piero de Medici’s studietto ceiling, crafted by Luca della Robbia, stands as a testament to the innovative spirit of the Renaissance. Employing the much-admired tin-glazed terracotta technique that della Robbia perfected in the early 15th century, the ceiling featured twelve intricately designed roundels, each representing a different Labour of the Month. Unlike popular della Robbia relief sculptures, these roundels boast naturalistic paintings in shades of white and blue, colours achieved through an experimental method seldom replicated. The edges of each roundel are adorned with sculpted leaf patterns, subtly detailed in low relief, offering a textural contrast to the smooth, painted centers. This ceiling, decidedly ornate and uncharacteristically detailed for its time, reflected not only the artistic ambition of della Robbia but also the grandeur of the room it overseed, a fitting canopy for the collection of curiosities and treasures it sheltered.

Luca della Robbia, 1399/1400–1482
Labours of the Months, 1450s, Glazed terracotta, Diameter: 57 cm, Victoria and Albert Museum, London, UK
https://umbriaandtuscanyunravelled.blogspot.com/2015/06/object-in-focus-june-2015-june-one-of.html

In the mid-15th century, the studietto in the Medici Palace was a marvel of Florentine artistry. These resplendent with the most worthy figures inspired awe in all who entered, as noted by the architect Filarete. This intimate chamber, adorned to stir curiosity and admiration, met an untimely demise during the palace’s 17th-century remodelling. The surviving roundels, treasures of Renaissance art, found their way into a private Italian collection before being acquired by the Victoria and Albert Museum in 1861. Today, these pieces form the heart of a reconstructed space at the V&A, meticulously designed to evoke the original studietto’s ambience!

For a PowerPoint Presentation of the 12 Labours of the Months by Luca della Robbia in the Victoria and Albert Museum in London, please… Check HERE!

Bibliography: https://www.jstor.org/stable/3048729?read-now=1&seq=5#page_scan_tab_contents Some Unknown Descriptions of the Medici Palace in 1459 by Rab Hatfield, The Art Bulletin, Vol. 52, No. 3 (Sep. 1970), pp. 232-249 (18 pages)

Pandora and Epimetheus

by 17th century ArtArtMannerismPowerpointsRenaissanceRenaissance Art
Attributed to El Greco – Domenikos Theotokopoulos
Pandora and Epimetheus, 1600 – 1610, Polychromed, Carved Wood, Height: 43 cm, Prado Museum, Madrid, Spain
https://www.museodelprado.es/en/the-collection/art-work/pandora/86a6b73f-8ef3-4132-aa68-4648a27a4b6a

In Greek mythology, Pandora was the first woman on Earth. Created by the god Hephaestus at the request of Zeus, her creation was part of a divine punishment for humanity. This punishment was in retaliation for Prometheus, a Titan, who defied the gods by stealing fire and giving it to mankind. Endowed with gifts from each god and made irresistibly alluring to humans, Pandora was given in marriage to Epimetheus, the brother of Prometheus. Despite warnings from Prometheus not to accept any gifts from Zeus, Epimetheus accepted her. Pandora and Epimetheus thus became the first human couple. However, disaster loomed nearby. Driven by curiosity, Pandora opened a box she was forbidden to touch and released into the world all sorrows and death-bringers. Only Hope remained, trapped under the box’s lid, narrowly missing escape when Pandora hastily closed the lid. This calamity unfolded exactly as Zeus, the cloud-gatherer, had planned. Do Pandora’s actions illustrate the profound and often unintended consequences of human curiosity and disobedience?

Domenicos Theotokopoulos, known as El Greco, was born in 1541 in Crete, which was then part of the Republic of Venice. Initially trained in the Byzantine tradition of icon painting, he moved to Venice around 1567, where he adopted elements of the Venetian Renaissance style under the influence of painters like Titian and Tintoretto. Seeking greater opportunities, El Greco relocated to Rome in 1570 and later moved to Toledo, Spain, in 1577, where he spent the remainder of his life. In Toledo, El Greco developed a distinctive style characterized by elongated figures and vibrant, expressive use of colour and light, often infused with dramatic spirituality. Despite his critical reception being mixed during his lifetime, El Greco is now celebrated as a precursor to both the Expressionist and Cubist movements, profoundly influencing the evolution of Western art. He died in 1614 in Toledo.

El Greco’s art is distinguished by its unique blend of Byzantine and Western painting traditions, resulting in a highly personal and spiritual style that pushed the boundaries of the Mannerist period. His figures are elongated and anatomically exaggerated, often imbued with a sense of spiritual intensity and inner turmoil that seems to stretch towards the divine. He used unconventional, vivid colour palettes and bold, almost expressionistic brush strokes that imbued his compositions with a dramatic, almost otherworldly quality. His treatment of light is particularly notable. It often seems to emanate from within the figures themselves, highlighting their ethereal and transcendent nature. This handling of form, colour, and light not only enhances the emotional depth and mystical atmosphere of his paintings but also foreshadows the emotional expressiveness of the Expressionist movement and the structural experimentation of Cubism, making El Greco a pivotal figure in the transition from the Renaissance ideals of harmony and proportion to the more subjective and distorted approaches of modern art.

The unique statues of Pandora and Epimetheus housed in the Prado Museum hold significant artistic and stylistic importance as they represent a rare excursion into sculpture by an artist renowned primarily for his paintings. These works are critical for understanding El Greco’s artistic language in a three-dimensional form, showcasing his ability to translate the intense emotionality and spiritual expressiveness characteristic of his paintings into sculpture. Stylistically, these statues exemplify his signature approach of elongation and dramatic posturing, traits that underscore his departure from conventional Renaissance forms and anticipate the emotional intensity of the Baroque period. The representation of such complex mythological figures in sculpture by El Greco adds a profound layer to the interpretation of his artistic legacy, demonstrating his innovative approach to volume, movement, and the human form, which challenged and expanded the aesthetic boundaries of his time.

Considering El Greco’s unique interpretive style and his known penchant for blending the spiritual with the human form, in what ways might his statues of a nude man and a nude woman be seen as symbolic representations of Pandora and Epimetheus? How do these sculptures reflect the themes of innocence, curiosity, and the inevitable consequences of human actions as depicted in the myth? …The woman removed the heavy lid of the jar with her own hands, and / driven by her own thoughts, unleashed sorrows for men, death-bringers. / Hope alone remained in its unbreakable home, / caught underneath the lip of the jar. Its escape / was only a short flight away, but, just in time, she slammed the lid down. / All according to the plan of aegis-bearing, cloud-gathering Zeus… https://pressbooks.library.torontomu.ca/myths/chapter/lesson-5-primary-readings-prometheus-and-pandora/

For a PowerPoint Presentation titled, Domenikos Theotokopoulos, 10 Masterpieces, please… Check HERE!

Bibliography: https://www.museodelprado.es/en/the-collection/art-work/pandora/86a6b73f-8ef3-4132-aa68-4648a27a4b6a and https://www.museodelprado.es/en/the-collection/art-work/epimetheus/8abbfd9f-27f9-44b6-bbc6-e19854e7a69c

The Allegory of Calumny

by 16th century ArtArtItalian Renaissance ArtRenaissanceRenaissance ArtStudent ActivitiesWorksheets
‘Botticelli’ Workshop
Allegory of Calumny, c. 1530, Oil on Canvas, Galleria Colonna, Rome Italy https://www.galleriacolonna.it/en/botticelli-and-his-workshop-allegory-of-the-calumny-on-temporary-loan-from-12-01-2023-to-04-14-2024-acropolis-museum-athens-exhibition-personifications-and-allegories/

In a world where misinformation can spread with the click of a button, the echoes of truth and deceit battle in the court of public opinion. This timeless struggle was vividly captured in the brushstrokes of The Allegory of Calumny, an intriguing 16th-century painting attributed to ‘Botticelli’s’ Workshop. Displayed as part of the exhibition titled ‘ΝοΗΜΑΤΑ’: Personifications and Allegories from Antiquity to Today at the Acropolis Museum, this Renaissance masterwork travelled from the Galleria Colonna in Rome to Greece, offering a unique opportunity to explore the multifaceted world of allegorical art.

Rising above the primary notion of the image, an allegorical painting seeks to uncover hidden, deeper meanings, visualizing abstract concepts with the aspiration of yielding educational outcomes. In this context, allegory emerges as a powerful form of expression that succeeds in cloaking the true meaning, engaging both written words and visual arts in a delicate dance of revelation and concealment. The Allegory of Calumny painting stands out as one of the most instructive examples from antiquity and the Renaissance, embodying the intricate layers of meaning that such symbolic representation can convey. To understand the painting, we first need to travel back to the 4th century BC and seek information on a lost painting by Apelles, then explore the Renaissance painting Calumny of Apelles by Sandro Botticelli, and finally discuss the painting in the Collection of Galleria Colonna in Rome.

The story of the painting Calumny by the legendary 4th century BC ancient Greek artist Apelles, as recounted by the writer Lucian (Luciano di Samosata, 2nd century BC), is a fascinating narrative that has inspired artists and thinkers through the ages. In Lucian’s telling, the celebrated Greek painter Apelles crafted the painting Calumny after becoming the victim of slander himself. The allegorical painting illustrated a tale of injustice and deception, where a blameless man was falsely accused by Calumny (Slander), personified as a beautiful but deceitful woman. Flanked by Malice, and Deceit, and led by Evil, Slander was depicted taking the innocent man before a judge, who was depicted with donkey’s ears, symbolizing his foolishness and inability to discern the truth. Beside the judge stood his advisors, Ignorance and Assumption. Apelles’ work served not only as a personal reflection on his experiences with slander but also as a universal commentary on the nature of truth, justice, and the destructive power of false accusations. Through this allegory, Apelles conveyed a poignant message about the ease with which innocence can be marred by malevolence, a theme that resonates as deeply today as it did in antiquity. http://lucianofsamosata.info/wiki/doku.php?id=home:texts_and_library:essays:slander

Alessandro Filipepi known as Sandro Botticelli, 1445-1510
Calumny of Apelles, c. 1495, Tempera on Wood, 62×91 cm, The Uffizi, Florence, Italy https://www.uffizi.it/en/artworks/calumny-botticelli

Next, the journey through the Allegory of Calumny takes us into the heart of the Renaissance. It is here that Sandro Botticelli, drawing inspiration from ancient texts that describe Apelles’ work, reimagines this timeless theme through the lens of 15th-century Florence. Botticelli’s Calumny of Apelles not only pays homage to the original masterpiece but also enriches it with the nuanced intricacies of Renaissance artistry and thought, inviting us to explore how the allegorical message has been transformed and recontextualized for a new era. Crafted around 1495, this painting emerges at a pivotal moment, marking the transition from the flourishing Laurentian era to the dawn of a Republic under the influence of Girolamo Savonarola. This piece stands as Botticelli’s final foray into the realm of allegorical and mythological themes, showcasing his unparalleled ability to weave intricate narratives and interpret complex ideas through his art.

According to Giorgio Vasari, Botticelli’s painting was a gift to the artist’s friend Antonio Segni, with the following lines of his own composition beneath it: Indicio quemquam ne falso laedere tentent Terrarum reges, parva tabella monet. Huic similem Aegypti regi donavit Apelles Rex fuit et dignus munere, munus eo… Let any kings of the earth beware of attempting to harm anyone falsely; a small tablet warns them. Apelles, the painter, gave a similar one to the king of Egypt; he was both a king deserving of the gift, and the gift was deserving of him. http://www.artist-biography.info/artist/sandro_botticelli/ and https://www.uffizi.it/en/artworks/calumny-botticelli

Having traversed the historical and artistic landscapes shaped by Apelles’ ancient masterpiece and Botticelli’s Renaissance reinterpretation, our exploration leads us to a final piece: The Allegory of Calumny, created by ‘Botticelli’s’ Workshop and residing in the prestigious Galleria Colonna in Rome. This rendition, exhibited, currently, in the Acropolis Museum in Athens and crafted by an artist whose name has eluded history, embodies the aesthetic values of harmony, proportion, and beauty that defined the period. With a delicate and polished use of line and colour, the unknown artist skillfully captures the viewer’s attention, guiding it across an intricate narrative tableau. The painting, lucking Botticelli’s extravagant architectural ‘fantasy’, depicts the allegorical figures with grace and emotional depth, weaving a rich tapestry of human drama that invites the observer to delve into its complex layers. Furthermore, reaffirms the themes and aesthetic principles of its predecessors, serving as a vivid testament to the enduring legacy of the Calumny motif. It invites us to appreciate the nuanced layers of interpretation and craftsmanship that span centuries, from classical antiquity, through the Renaissance, and into the heart of Italy’s artistic heritage.

For a Student Activity, inspired by the Allegory of Columny painting, please… Check HERE!

Cardinal Bessarion in prayer before his Byzantine Reliquary

by 15th century Italian Renaissance ArtArtByzantine ArtByzantiumItalian Renaissance ArtPowerpointsRenaissanceRenaissance ArtSocial Studies
Gentile Bellini, active about 1460-1507
Cardinal Bessarion and Two Members of the Scuola della Carità in prayer with the Bessarion Reliquary, about 1472/3, Egg Tempera on Wood, 102.3 × 37.2 cm, The National Gallery, London, UK https://www.nationalgallery.org.uk/paintings/gentile-bellini-cardinal-bessarion-with-the-bessarion-reliquary
The Byzantine Reliquary of Cardinal Bessarion, late 14th-early 15th cent., Wood, silver, gilt filigree, enamel, glass, and precious stones, Galleria dell’Accademia, Venice, Italy https://www.gallerieaccademia.it/en/reliquary-cardinal-bessarion

The painting by Gentile Bellini depicting Cardinal Bessarion in prayer before his Byzantine Reliquary, accompanied by two Members of the Scuola della Carità, housed in the National Gallery in London, captivates my fascination. Bellini’s masterpiece not only offers a tangible link to the historical context it portrays but also illuminates the cultural milieu of its time. Functioning as both an artistic treasure and a captivating historical document, this work by Bellini is a testament to the rich tapestry of the past. https://www.nationalgallery.org.uk/paintings/gentile-bellini-cardinal-bessarion-with-the-bessarion-reliquary

Born Basilios Bessarion in 1403 in Trebizond, on the Black Sea, Bessarion emerged as a distinguished Humanist and a significant figure of the Renaissance. Initially devoted to a monastic life within the Eastern Orthodox Church, his trajectory took a pivotal turn during the Council of Ferrara-Florence. Here, he fervently advocated for the union of the Eastern and Western Churches, leading to his relocation to Italy. Immersing himself in the Renaissance’s revival of classical learning, Bessarion’s scholarly contributions and diplomatic acumen were acknowledged by Pope Eugene IV in 1439, culminating in his appointment as a Cardinal of the Catholic Church.

Beyond his ecclesiastical responsibilities, Cardinal Bessarion carried influence as a significant Arts Patron, amassing an extensive collection of Greek and Latin manuscripts including ecclesiastical and classical texts. His library considered a beacon of erudition, played a pivotal role in disseminating Greek knowledge to Latin-speaking scholars, thus nurturing the flourishing Humanist movement. This rich repository, comprising rare manuscripts and ancient texts, reflected Bessarion’s fervent commitment to preserving and transmitting the cultural heritage of both Eastern and Western traditions. This passion left a lasting mark on the intellectual landscape of the Renaissance. On May 31, 1468, Cardinal Bessarion bestowed his precious library upon the Serenissima Republic of Venice, endowing hundreds of rare manuscripts to shape the nucleus of the renowned library of St Mark’s, the Biblioteca Marciana.

Gentile Bellini, active about 1460-1507
Cardinal Bessarion and Two Members of the Scuola della Carità in prayer with the Bessarion Reliquary, about 1472/3, Egg Tempera on Wood, 102.3 × 37.2 cm, The National Gallery, London, UK https://www.nationalgallery.org.uk/paintings/gentile-bellini-cardinal-bessarion-with-the-bessarion-reliquary
The Byzantine Reliquary of Cardinal Bessarion, late 14th-early 15th cent., Wood, silver, gilt filigree, enamel, glass, and precious stones, Galleria dell’Accademia, Venice, Italy https://www.gallerieaccademia.it/en/reliquary-cardinal-bessarion

While Cardinal Bessarion is primarily celebrated for his scholarly contributions, efforts in reuniting the Eastern and Western Churches, and the establishment of his extensive library, he is also associated with a remarkable religious artifact known as Bessarion’s Reliquary or Staurotheke in Greek. This magnificent example of Late Byzantine craftsmanship, donated by Bessarion himself to the Scuola Grande della Carità in 1463, now forms part of the Collection of the Accademia in Venice. The Reliquary features a movable, gilded central Cross with origins traced back to the Byzantine princess Irene Paleologina. Encased within a wooden frame/box adorned with painted scenes depicting the Passion, intricate goldsmithing featuring blue-colored enameling, and flanked by the figures of Emperor Constantine and his mother Helena, the Cross also incorporates four chambers made of rock crystal. These chambers, situated on either side of the Cross, house the precious Relics of the True Cross and Christ’s robe.

Moving from the exploration of Cardinal Bessarion’s Reliquary to Gentile Bellini’s depiction of it, one can discern the symbiotic relationship between the historical artifact and the artist’s creative interpretation. Executed in 1972/73, precisely when Bessarion’s Reliquary made its way to Venice, Bellini was commissioned to craft a painted door panel. This panel was an integral component of a tabernacle designed to encase and safeguard the precious reliquary.

Cardinal Bessarion and Two Members of the Scuola della Carità in prayer with the Bessarion Reliquary (detail), Egg Tempera on Wood, 102.3 × 37.2 cm, The National Gallery, London, UK
https://www.nationalgallery.org.uk/paintings/gentile-bellini-cardinal-bessarion-with-the-bessarion-reliquary

Gentile Bellini’s artistic pursuit not only captures the religious significance of the Reliquary but also breathes life into the personalities linked to its donation. The painting prominently features the generous donor, Cardinal Bessarion, portrayed in profile and modestly attired in black. Accompanying him are two distinguished members of the Scuola della Carità, adorned in their characteristic white robes. One of them is depicted holding an instrument for self-flagellation, projecting a sense of distinction and prominence. Despite the varied depictions, the central focus remains on Bessarion’s Reliquary, commanding attention in the composition. It serves as both a symbolic and visual anchor, connecting the historical artifact to the narrative brushstrokes of Bellini’s portrayal. Consequently, Bellini’s canvas emerges as a bridge between the tangible beauty of the relic and the nuanced storytelling of the individuals tied to it.

Cardinal Bessarion and Two Members of the Scuola della Carità in prayer with the Bessarion Reliquary (detail), Egg Tempera on Wood, 102.3 × 37.2 cm, The National Gallery, London, UK
https://www.nationalgallery.org.uk/paintings/gentile-bellini-cardinal-bessarion-with-the-bessarion-reliquary

The Reliquary’s connection to Venice is beautifully narrated by Holgera A. Klein… In July 1463, ten years after the conquest of Constantinople (1453), Pope Pius II had sent Bessarion to Venice in an attempt to rekindle and promote the idea of a Crusade against the Ottoman Turks. Befitting his role as a Catholic Cardinal traveling as papal legate, the Doge and Senate went out to meet Bessarion in the lagoon on the Bucintoro, the doge’s great ceremonial barge, with chants, acclamations, and church bells resounding from all parts of the city. It was not the only honor bestowed on Bessarion in Venice, for on August 29, a few weeks after his arrival in Venice, Marco della Costa, the Guardian Grande of the Scuola della Carità, and a delegation of its most prominent members went to visit the Cardinal on the island of San Giorgio Maggiore and solemnly invited him to join their confraternity as a member. Touched by the city’s exhibit of respect, Bessarion, accepted the honor, accompanied the Scuola’s delegation back to the Rialto in festive procession, and vowed in gratitude to bestow a special gift on the Confraternity, namely his precious Stavrotheke, that previously belonged to Gregory III Melissenos, the Patriarch of Constantinople, with the sole provision that he would like to hold on to it during his lifetime. https://arthistory.columbia.edu/sites/default/files/content/faculty/pdfs/klein/Klein_estratto.pdf Cardinal Bessarion, Philippe de Mézières and the Rhetoric of Relics in late medieval Venice, by Holger A. Klein, pp. 23-26

In the spring of 1472, in Bolognia, on his way to France on yet another Papal mission, the ailing Bessarion decided to hand over the promised gift, which he had meanwhile ‘further adorned with silver, and fitted with a pole so that it could suitably be displayed in the context of pious devotion’. Three trusted men from the Cardinal’s familia were sent as couriers to hand over the precious panel, which, according to the confraternity’s reply, arrived in Venice in early June. At the request of the Venetian Senate the reliquary was first displayed on the high altar of San Marco on Trinity Sunday, and then carried in solemn procession through the city and across the Grand Canal into the Scuola della Carità accompanied by the entire populace chanting hymns…https://arthistory.columbia.edu/sites/default/files/content/faculty/pdfs/klein/Klein_estratto.pdf Cardinal Bessarion, Philippe de Mézières and the Rhetoric of Relics in late medieval Venice, by Holger A. Klein, pp. 23-26

What a magnificent story!

For a PowerPoint Presentation on Gentile Bellini’s oeuvre, please… Check HERE!

Information on the Conference ‘La Stauroteca di Bessarione: Restauro, Provenienza, Ambito Culturale tra Constantinopoli e Venezia’ (The Stauroteca of Bessarion: restoration, provenance, cultural context between Constantinople and Venice), organized by: Gallerie dell’Accademia, Istituto Hellenico, Veneto Institute of Sciences, Letters and Arts, in collaboration with the German Center of Venetian Studies, 17 – 18 October 2013 https://www.istitutoveneto.it/flex/cm/pages/ServeBLOB.php/L/IT/IDPagina/862

For Photographs of the Staurotheke’s restoration… https://leipsanothiki.blogspot.com/2014/10/359.html

The Tower of Babel by Pieter Bruegel the Elder

by 16th century ArtArtNorthern RenaissanceRenaissanceRenaissance ArtStudent ActivitiesWorksheets
Pieter Bruegel the Elder, 1526/1530–1569
The Tower of Babel, 1563, Oil on Panel, 1,140×1,550 mm, Collection      
Kunsthistorisches Museum, Vienna, Austria https://www.bruegel2018.at/en/the-tower-of-babel/

11 Now the whole world had one language and a common speech. 2 As people moved eastward,[a] they found a plain in Shinar[b] and settled there. / 3 They said to each other, “Come, let’s make bricks and bake them thoroughly.” They used brick instead of stone, and tar for mortar. 4 Then they said, “Come, let us build ourselves a city, with a tower that reaches to the heavens, so that we may make a name for ourselves; otherwise we will be scattered over the face of the whole earth.” / 5 But the Lord came down to see the city and the tower the people were building. 6 The Lord said, “If as one people speaking the same language they have begun to do this, then nothing they plan to do will be impossible for them. 7 Come, let us go down and confuse their language so they will not understand each other.” / 8 So the Lord scattered them from there over all the earth, and they stopped building the city. 9 That is why it was called Babel[c]—because there the Lord confused the language of the whole world. From there the Lord scattered them over the face of the whole earth. This is how the construction of the Tower of Babel is described in Genesis 11:1–9. The Tower of Babel by Pieter Bruegel the Elder, the painting in the Kunsthistorisches Museum in Vienna, portrays this description within the context of Netherlandish Art. https://www.biblegateway.com/passage/?search=Genesis%2011%3A1-9&version=NIV

Pieter Bruegel the Elder, a prominent Netherlandish Renaissance artist, lived from around 1525 to 1569. Known for his distinctive style and masterful compositions, Bruegel excelled in depicting scenes of everyday life, landscapes, and complex narrative paintings. His works often showcased a keen observation of human behavior and a meticulous attention to detail. The Tower of Babel, The Peasant Wedding, and The Hunters in the Snow are among his notable paintings. Bruegel’s contributions to art extended beyond mere technical skill; he played a significant role in influencing subsequent generations of artists, leaving a lasting impact on the Northern Renaissance.

Pieter Bruegel the Elder, 1526/1530–1569
The Tower of Babel (details), 1563, Oil on Panel, 1,140×1,550 mm, Collection      
Kunsthistorisches Museum, Vienna, Austria https://www.bruegel2018.at/en/the-tower-of-babel/

Among the artist’s many notable paintings, The Tower of Babel in Vienna vividly captures the viewer’s imagination. The composition is a bustling panorama of a colossal tower in progress, set against a sprawling landscape that showcases Bruegel’s meticulous attention to detail. The architectural marvel dominates the canvas, with countless workers toiling at various tasks, creating a bustling scene of organized chaos. The painting skillfully combines elements of biblical storytelling with a keen observation of human behavior, portraying the futility of human arrogance and the inevitable consequences of divine intervention. Bruegel’s use of color, texture, and intricate details adds depth and complexity to the narrative, making The Tower of Babel a masterpiece that continues to captivate viewers with its rich storytelling and artistic brilliance.

Pieter Bruegel the Elder, 1526/1530–1569
The Tower of Babel, 1563, Oil on Panel, 1,140×1,550 mm, Collection      
Kunsthistorisches Museum, Vienna, Austria
The building of the tower of Babel, circa 1568, Oil and Wood, 59.9×74.6 cm, Museum Boijmans Van Beuningen, Rotterdam, the Netherlands
https://en.wikipedia.org/wiki/The_Tower_of_Babel_(Bruegel)

The Renaissance artist painted two versions of the Tower of Babel. One is in Vienna, my favourite, and the other is housed in the Museum Boijmans Van Beuningen, in Rotterdam. Seen side by side, the two paintings may depict the same subject in a similar setting, but there are a number of important differences between the two compositions. The most obvious difference is the size of the Vienna panel, which is almost four times bigger than that of the Tower in Rotterdam – but if we were able to enter the compositions, we would realize that the Tower in Rotterdam is in fact 250 % bigger than the one in Vienna. https://www.bruegel2018.at/en/the-tower-of-babel/

Pieter Bruegel the Elder’s two renditions of The Tower of Babel, exhibit subtle yet significant distinctions. In the Vienna painting, the tower commands a central and meticulously detailed position, with a slender design featuring a distinctive spiral staircase. The foreground is bustling with a multitude of workers engaged in various construction tasks, contributing to a sense of organized chaos. On the other hand, the Rotterdam version offers a slightly elevated perspective, showcasing a more massive and block-like tower positioned towards the left side. The architectural structure differs, and the foreground activity, while still busy, is less intricately detailed, allowing for a broader view of the expansive landscape. These variations in composition, architectural design, foreground activity, and atmospheric elements highlight Bruegel’s nuanced approach to depicting the same biblical narrative, providing viewers with unique visual experiences in each rendition.

For a Student Activity, inspired by Pieter Bruelel’s paintings, titled The Tower of Babel, please… Check HERE!