Virgin and Child

by 16th century ArtArtNorthern RenaissanceRenaissanceRenaissance ArtStudent ActivitiesWorksheets
Attributed to Simon Bening, 1483/84–1561
Virgin and Child, ca. 1520, Oil on wood, 25.4 x 21 cm, the MET, NY, USA
https://www.metmuseum.org/art/collection/search/436103

Lady, Our Lady, writes Vittoria Collona (Sonnet 51), did you not press and pour / into your milk, like essential oils wrung, / the whole of you, like living breath into lung, / to nourish the whole of your divine son? Or / did his living fire scorch your holy breast, and more, / breaking into pure light and pure song / the pieces of you like a universe born? / Who can understand it, how spirit tore / into the material world like lightning, / did not burn but lit it up in a flash / that lasted through the long night, whitening / like snow the dark, dark world? In the flesh / he came and defied every logic, not frightening / but consoling like the evening’s red flush… and I think of a lovely painting of the Virgin and Child in the Metropolitan Museum attributed to Simon Bening. https://aleteia.org/2022/08/14/is-this-the-most-beautiful-sonnet-ever-written-for-mary/

Simon Bening, 1483 – 1561
Self-portrait of Simon Bening, aged 75, 1558, tempera on parchment, 8.6×5.7 cm, the MET, NY, USA
https://www.metmuseum.org/art/collection/search/459254

Simon Bening is a master manuscript illuminator. Hailed by Portuguese art critic and artist, Francisco da Hollanda as the greatest master of illumination in all of Europe, Simon Bening was one of the most celebrated painters of Flanders in the 1500s. He served powerful aristocrats and worked for a group of international royal patrons including Emperor Charles V and Don Fernando, the Infante of Portugal. He is famous for creating some of the finest illuminated Books of Hours in the history of art. His specialty was painting, in the Flemish tradition, poetic landscape vistas… https://www.getty.edu/art/collection/person/103JTN

The painting of the Virgin and Child in the Metropolitan Museum attributed to Simon Bening exhibits the painter’s interest in artistic exploration. According to the Museum experts, the artist of the Virgin and Child was heavily inspired by Gerard David’s painting depicting the Rest on the Flight into Egypt. Both paintings present the Virgin as the very model of a nurturing mother. The context is, however, different. David’s painting refers to the Gospels (Matthew 2:13-14) and the arduous journey of the Family to Egypt. Bening, if the Virgin and Child painting is indeed his, presents a ‘genre’ scene of a nurturing mother and child. From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art, pp. 308-313 https://www.metmuseum.org/art/metpublications/From_Van_Eyck_to_Bruegel_Early_Netherlandish_Painting_in_The_Metropolitan_Museum_of_Art

Attributed to Simon Bening, 1483/84–1561
Virgin and Child, ca. 1520, Oil on wood, 25.4 x 21 cm, the MET, NY, USA
Gerard David, ca. 1455–1523
The Rest on the Flight into Egypt, ca. 1512–15, Oil on wood, 53.3 × 39.8 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/436103 and https://www.metmuseum.org/art/collection/search/436101

The MET painting of the Virgin and Child is typical of the Flemish tradition of ‘hidden’ symbolisms. Mary, for example, sits on the wall of an enclosed garden, the Hortus Conclusus, a symbol of her purity, which refers to the Garden of Eden of the Old Testament. Mint, present, in abundance, behind Mary, is a plant that grows wild in Palestine and is mentioned by Jesus in His discourse with the Pharisees. Bening uses it to further stress the virtue of Mary, as mint is a plant with healing and cleansing properties. The violets, at the lower part of the garden wall, are used by the artist as a sign of Mary’s humility. She is, after all, the Viola Odorata, meaning Our Lady of Modesty. Very important to underline is the stream of milk that flows from the Virgin’s breast to the lips of the Child, who turns to the viewer, spoon in hand, to directly communicate the notion of physical and spiritual nourishment. https://www.metmuseum.org/art/metpublications/From_Van_Eyck_to_Bruegel_Early_Netherlandish_Painting_in_The_Metropolitan_Museum_of_Art page 312

Simon Bening was famous for his poetic landscape vistas. His manuscript illuminations, like the pages of the Twelve Months in the Book of Golf we have been examining, reveal various aspects of his innovative character. The MET painting Virgin and Child favors a landscape that recedes into the far distance, large trees with highlighted edges, and the inclusion of a vignette… a small house surrounded by trees near the edge of a pond. This is a wonderful example of early sixteenth-century art for all to enjoy! https://www.metmuseum.org/art/metpublications/From_Van_Eyck_to_Bruegel_Early_Netherlandish_Painting_in_The_Metropolitan_Museum_of_Art page 312

For a Student Activity, please… Check HERE!

Swimmers on a Wooden Pier

by 20th century ArtAmerican ArtArtGreek ArtNeohellenic ArtStudent ActivitiesWorksheets
Michael Axelos, Greek Artist, 1877-1965
Swimmers at Palaio Faliro beach, 1935, Oil on plywood, 24.5 x 35.2 cm, Bank of Greece, Athens, Greece
https://www.bankofgreece.gr/PublishingImages/PRESS-RELEASES/2022/Thalassografies_4.jpg.jpg
George Wesley Bellows, American Artist, 1882 – 1925
42 Kids, 1907. Oil on canvas, 106.7 x 152.4 cm, Corcoran Gallery of Art, Washington, DC https://www.nga.gov/collection/art-object-page.134485.html

Michael Axelos’s painting oeuvre attests to his solid technique and undeniable talent. It was not by chance, writes Yannis Stournaras, Governor of the Bank of Greece, that he was the first Greek artist to be entrusted, initially by the National Bank of Greece and subsequently by the Bank of Greece, with the design of banknotes and coins, which he imbued with an aesthetic quality. The Exhibition Michael Axelos (1877-1965) – Between two worlds (December 22, 2015 – July 6, 2017), organized by the Bank of Greece – Centre for Culture, Research, and Documentation, shed new light on both known and unknown aspects of the artist’s life. Going through the Exhibition Catalogue, the painting Swimmers at Palaio Faliro Beach caught my attention, and curiosity… how different, or similar, is the Greek artist’s painting compared to George Wesley Bellows composition 42 Kids? A new BLOG POST, Swimmers on a Wooden Pier, will not give you the decisive answer. Maybe information to reflect upon…    https://www.bankofgreece.gr/MediaAttachments/AXELOS_CATALOGUE.pdf

Michael Axelos, an artist of exceptional skill, whose significant output spanned different genres, was a graduate of the Athens Law School and of the Athens School of Fine Arts. From 1911 to 1914 he continued his studies in Paris, at the Académie Julian and the Académie de la Grande Chaumière where his rather conservative initial training was infused with the new artistic developments, on one hand, Fauvism, and on the other hand Cubism, as presented in the Salons of 1910 and 1911. Axelos devoted a large part of his life and work to the Bank of Greece, where he designed banknotes, coins, and security documents. His retirement in 1846 starts a new period in his artistic life. Without changing his style radically, his painting becomes somehow liberated, is less strict, and escapes from the conservative framework where he had consciously placed it. https://museum.bankofgreece.gr/en/exhibitions/5/–18771965—–?ctx=9b1ea4a74a6d7c70df84ae52cbab3c959873d6f8&idx=4

Michael Axelos, Greek Artist, 1877-1965
Swimmers at Palaio Faliro beach, 1935, Oil on plywood, 24.5 x 35.2 cm, Bank of Greece, Athens, Greece
https://www.bankofgreece.gr/PublishingImages/PRESS-RELEASES/2022/Thalassografies_4.jpg.jpg

In 1935, while still working for the Bank of Greece, Axelos painted Swimmers at Palaio Faliro beach, one of my favorite, most charming paintings. Palaio Faliro is a coastal suburb of Athens and a popular destination for beachgoers. Axelos’ painting depicts a group of swimmers, with the blue sky, the sea, and the not-so-distant Athenian coast, forming a prominent part of the composition. The swimmers are portrayed in a gestural and loose manner, emphasizing movement and dynamism. They take advantage of the well-constructed wooden piers and enjoy a typical Greek summer day, diving into the sea, splashing with joy in the water, and sunbathing. Axelos’ use of tints and little shade, expressive brushstrokes, and direct sunlight, creates a delightful, persuasive composition of a classic Greek summer morning.

George Wesley Bellows was an American artist known for his depictions of New York City life. He was born in Columbus, Ohio, and studied at the Ohio State University before moving to New York City in 1904 to study at the New York School of Art under Robert Henri. Bellows quickly became known for his bold and expressive style, which captured the energy and dynamism of the city. His early work focused on the working-class neighborhoods of New York, depicting scenes of tenement life, street vendors, and labor strikes. He was a member of the Ashcan School, a group of artists who sought to depict the realities of modern life in their work. Tragically, Bellows died at the age of 42 from a ruptured appendix. Despite his short career, he left a lasting impact on American art and is considered one of the most important artists of the early 20th century.

George Wesley Bellows, American Artist, 1882 – 1925
Forty Two Kids, 1907. Oil on canvas, 106.7 x 152.4 cm, Corcoran Gallery of Art, Washington, DC https://www.nga.gov/collection/art-object-page.134485.html

In August 1907 Bellows painted Forty-Two Kids, which depicts a band of nude and partially clothed boys engaged in a variety of antics—swimming, diving, sunbathing, smoking, and possibly urinating—on and near a dilapidated wharf jutting out over New York City’s East River. https://www.nga.gov/collection/art-object-page.134485.html

In terms of aesthetics, Bellows has used bold brushstrokes and vibrant colors to capture the energy and excitement of the children. The figures are depicted in dynamic poses that convey their movement and joy. The composition is carefully balanced, with the rough wooden pier stretching out to the right of the canvas, and the water and sky occupying the upper two-thirds of the painting. The use of color is particularly striking in this painting. The boys’ gangly bodies are loosely painted and brightly lit from the upper left. Most are nude, and Bellows employs hues of bright, cream white to medium brown to capture their skin tones. For the rest of the painting, the river in particular, Bellows uses intense shades of blue, emerald green, and yellow that convey a sense of summertime and warmth. The reflections of the children in the water create a sense of depth and perspective, and the overall effect is one of a moment frozen in time, capturing the exuberance of roaming young boys from New York’s Lower East Side tenements. https://www.nga.gov/collection/art-object-page.134485.html

Do you see similarities or differences? The decision is yours…

For a Student Activity, titled Swimmers on a Wooden Pier, please… Check HERE!

Les Meules à Giverny simply means The Stacks at Giverny

by 19th century ArtArtFrench ArtImpressionismStudent ActivitiesWorksheets
Claude Monet, French Artist, 1840-1926
Stacks of Wheat (End of Summer), 1890/91, Oil on canvas, 60 × 100.5 cm, The Art Institute of Chicago, USA https://www.artic.edu/artworks/64818/stacks-of-wheat-end-of-summer

My new BLOG POST title,  Les Meules à Giverny simply means The Stacks at Giverny,  refers to twenty-five paintings that Claude Monet began near the end of the summer, the month of August, of 1890, and continued through the following spring… Information about Les Meules à Giverny comes from Monet Paintings and Drawings at the Art Institute of Chicago | Cats. 27–33  Stacks of Wheat, 1890/91 (artic.edu) Cats. 27–33  Stacks of Wheat, 1890/91, and Monet’s Haystacks Reconsidered by Richard R. Brettell, Art Institute of Chicago Museum Studies, Vol. 11, No. 1 (Autumn, 1984), pp. 4-21 (19 pages) https://www.jstor.org/stable/4115885?read-now=1#page_scan_tab_contents, and https://www.sothebys.com/en/auctions/ecatalogue/2019/impressionist-modern-art-evening-n10067/lot.8.html

Claude Monet painted his famous series Les Meules, or Stacks of Wheat, also commonly referred to as Haystacks series, in his house at Giverny in France, where he saw large stacks of wheat in his neighbor’s farm, a field adjacent to his property. The decade starting in 1890 was a happy one for the artist. He turned fifty, he was established as an artist and was considered to be the leader of the Impressionist movement. He bought the house in Giverny, a beautiful place he had rented since 1883, a life-long source of inspiration, and a property and gardens he loved. It was also in 1890 that he began work on his famous Meules series.

I’m working away at a series of different effects (of stacks), but at this time of year, the sun sets so quickly that I can’t keep up with it… Monet explained to his friend Gustave Geffroy, journalist, art critic, historian, and novelist, on October 7, 1890. I’m becoming so slow in my work that it makes me despair, but the further I go, the better I see that it takes a great deal of work to succeed in rendering what I want to render: ‘instantaneity,’ above all the enveloppe, the same light diffused over everything, and I’m more than ever disgusted at things that come easily, at the first attempt… he continued.

Claude Monet first exhibited his series of paintings titled Les Meules, in Paris on the 4th of May, 1891. The exhibition, along with seven more paintings by the artist, took place at the Galerie Durand-Ruel, a prominent art gallery in the city. Fifteen paintings of the ‘Haystacks’  series were placed together and hung in the same small Gallery room. The exhibition of Monet’s ‘Haystacks’ series was met with a positive critical response, and it achieved significant financial success.

Let me present you with two 1891 critical reviews of Les Meules à Giverny simply means The Stacks at Giverny.

The famed art critic, gallery director, art collector, and anarchist, Felix Fénéon, the man who introduced the term Neo-Impressionist, wrote about Monet in rhapsodic prose… When did Monet’s colors ever come together in more harmonious clamor, with more sparkling impetus? It was the evening sun that most exalted Grainstacks: in summer they were haloed in purple flakes of ire; in winter, their phosphorescent shadows rippled in the sun, and, a sudden frost enameling them blue, they glittered on a sky first pink, then gold (F. Fénéon quoted in D. Wildenstein, Monet or the Triumph of Impressionism, Cologne, 1996, pp. 279-80).

Les Meules à Giverny by Claude Monet made the critic Gustave Geffroy wonder if Monet, a dear friend of his, saw the poetry of the universe in the restricted space of a field… I love it!

Today, experts on Claude Monet’s achievements, and particularly the famous Meules, examine the series as a whole and draw favorable conclusions about the artist’s ability in capturing the transient nature of light, the ever-changing atmosphere, and the passage of time, and Monet’s mastery in depicting the subtle variations of color and light. The general consensus is that Monet skillfully depicted the interplay between sunlight and shadows, creating a luminous quality in the ‘Heystacks’paintings. His use of broken color and loose brushwork allows the viewer’s eye to blend the colors optically, resulting in a vibrant and harmonious visual experience.

I particularly like how Paul Hays Tucker describes Monet’s organization… The compositions are all strongly geometric—the fields, hills, and sky being reduced to parallel bands that in most cases extend across the entire canvas, with the fields occupying approximately half the surface, and the hills and sky, a quarter each. When fifteen of these canvases were exhibited at Durand-Ruel’s in Paris between May 4 and May 18, 1891, their impact was as forceful as their elemental motifs and the show was an enormous success…. In moving from one canvas to another, one senses not only the many artful choices Monet made, but also his deep engagement with the stacks themselves. They are never overwhelmed by the light or obscured by the atmosphere, and thus they never lose their identity as forms. Monet even goes so far as to outline them, often in bold colors, and to define their conical tops by rivulets of light that run down their undulating edges. Although inert, the stacks seem to be invested with great feeling… P. H. Tucker, Monet in the ‘90s, The Series Paintings (exhibition catalog), Museum of Fine Arts, Boston, 1989, pp. 77 & 82 https://archive.org/details/monetin90sseries00tuck

For a Student Activity on Les Meules à Giverny, simply means The Stacks at Giverny, please… Check HERE!

Bellini’s Portrait of a young man à l’Antique

by 15th century Italian Renaissance ArtArtItalian Renaissance ArtRenaissanceRenaissance ArtStudent ActivitiesWorksheets
Giovanni Bellini, c. 1435/40 – 1516
Portrait of a Young Man à l’Antique (Andrea Mantegna?), about 1475–80, oil on board, 35 x 28 cm, Pinacoteca del Castello Sforzesco, Milan, Italy Germany (my amateurish attempt at photography of Bellini’s Painting as presented in the Exhibition GIOVANNI BELLINI Influences Croisées (March 3 to July 17, 2023) at the Jacquemart-André Museum)

Born into a family of artists, Giovanni Bellini frequented, with his brother Gentile, the studio of their father, Jacopo Bellini, a painter of Gothic training who soon mastered the principles of Florentine Renaissance art. The young artist, write the Musée Jacquemart-André experts, Neville Rowley and Pierre Curie, introducing the Exhibition GIOVANNI BELLINI Influences croisées (Paris, from 3 March to 17 July 2023), immersed himself in the art alongside his father, brother and his brother-in-law Andrea Mantegna, whom his sister Nicolosia had just married. Classicism, sculptural forms, and a good command of Mantegna’s perspective had a great influence on the artist… Is Bellini’s Portrait of a Young Man à l’Antique, presented in the exhibition, the Portrait of Andrea Mantegna?  https://www.musee-jacquemart-andre.com/en/giovanni-bellini

Mantegna’s marriage to Nicolosia Bellini was a positive development for both parties involved. Giorgio Vasari describes the event in his own, matter of fact, way… Andrea, thus left alone in the said chapel (Chapel of S. Cristofano, which is in the Church of the Eremite Friars of S. Agostino in Padua), painted the four Evangelists, which were held very beautiful. By reason of this and other works Andrea began to be watched with great expectation, and with hopes that he would attain to that success to which he actually did attain; wherefore Jacopo Bellini, the Venetian painter, father of Gentile and Giovanni, and rival of Squarcione, contrived to get him to marry his daughter, the sister of Gentile. Hearing this, Squarcione fell into such disdain against Andrea that they were enemies ever afterwards; and in proportion as Squarcione had formerly been ever praising the works of Andrea, so from that day onward did he ever decry them in public. http://www.travelingintuscany.com/art/gutenberg/vasarilives3.htm

The marriage of Andrea Mantegna to Nicolosia Bellini was significant in several ways. The marriage, for example, brought Mantegna into contact with the Bellini family, which had a significant influence on the development of Venetian art. Mantegna was already a highly respected artist in his own right, but his marriage to Nicolosia helped to solidify his reputation and establish him as a leading figure in the Italian Renaissance. For the younger brother-in-law, Giovanni Bellini, the marriage led to a cross-pollination of ideas and approaches between the two brothers-in-law. In fact, there is evidence to suggest that the two artists had, occasionally, a close working relationship. Mantegna’s influence on Bellini can be seen in his use of perspective, which was a technique that Mantegna had mastered. Furthermore, it is believed that Giovanni Bellini was influenced by Mantegna’s interest in classical antiquity, his Portrait of a Young Man à l’Antique is evidence enough, of the use of color, light, and shadow to create a sense of depth and three-dimensionality.

While in Paris, attending the brilliant Exhibition GIOVANNI BELLINI Influences Croisées, at the Musée Jacquemart-André, I was surprised, most pleasantly, by Bellini’s Portrait of a Young Man à l’Antique. The Exhibition curators present this unusual painting as a possible portrait of Andrea Mantegna. Searching the history and provenance of the painting, I came upon different identification names… Portrait of a young man à l’Antique, Portrait of a Humanist, or Poeta Laureato. Not just so, this is, I believe, a little-known painting with a complicated history of credit. It has been attributed to Antonello da Messina, Alvise Vivarini, and Giovanni Bellini. The depicted young man has been identified as the painter Andrea Mantegna, or the poet Raffaele Zovenzoni. Do I know the true identity of the artist and the represented young man? The answer is No! What I know is that the Portrait I saw was eye-catching, magnetic, bold, and alluring.

Giovanni Bellini, c. 1435/40 – 1516
Portrait of a Young Man à l’Antique (Andrea Mantegna?) (detail), about 1475–80, oil on board, 35 x 28 cm, Pinacoteca del Castello Sforzesco, Milan, Italy
https://www.pinterest.dk/pin/609393393298256426/

The painting depicts a young man dressed in classical clothing, with a serene expression on his face. The background of the painting is a neutral brown color, which helps to emphasize the figure’s features and clothing. What I found striking is the incredible level of detail in the young man’s face, which, painted with great care and with subtle gradations of color, creates a lifelike appearance. Painted in front of a dark background, the young man is depicted wearing an olive-green and brown garment à l’Antique. His rich auburn hair is crowned by a wreath of myrtle, he features a strong chin, a straight nose, and olive-green coloured eyes! Whoever the young man is, I would like to believe this is a liking of Andrea Mantegna, Giovanni Bellini’s painting is a beautiful example of Renaissance portraiture, characterized by its attention to detail, lifelike rendering, and incorporation of classical imagery. The painting is a testament to Bellini’s skill as an artist and his contribution to the development of Renaissance art in Venice.

For a Student Activity, please… Check HERE!

La Passagère du 54 – Promenade en Yacht

by 19th century ArtArtFrench ArtMuseumsPost-ImpressionismStudent ActivitiesWorksheets
Henri de Toulouse-Lautrec, French Artist, 1864-1901
La Passagère du 54 – Promenade en Yacht, 1893-1899, Album of 12 lithographs printed on superior Vélin paper, 448/750, 52.6 × 36 cm, Printed by Mourlot Frères, Paris, and André Thiry, Brittany, published by Librairie Gründ, Paris, 1948, Basil and Elise Goulandris Foundation, Athens

In the summer of 1895 Lautrec embarked on a voyage from Le Havre to Bordeaux with Maurice Guibert, on the steamer Le Chili.  During the voyage he discovered a young woman, one of his fellow passengers, in cabin No. 54, who was on her way to join her husband, a colonial official in Senegal. He was so fascinated by her beauty that, despite protests from Guibert, he determined to stay on board once the ship reached Bordeaux and continue south with the vessel.  It was not until they reached Lisbon that his friend succeeded in getting Lautrec — who was determined to carry on as far as Dakar — off the ship. Guibert then took the artist via Madrid and Toledo to the spa of Taussat, and the trip ended in late summer near Bordeaux, at the Château de Malromé, the main residence of Lautrec’s mother. This is how La Passagère du 54 – Promenade en Yacht by Henri de Toulouse-Lautrec was inspired and created! A fascinating story… http://www.maitres-des-arts-graphiques.com/Toulouse-Lautrec,%20Passagere.html  

Back in Paris, Toulouse-Lautrec carefully and swiftly developed his, now-famous, lithograph La passagère du 54 – Promenade en Yacht. The stylish young, red-haired woman of the lithograph was apparently unaware of the artist’s presence, the two were never introduced, and her name is unknown. What apparently captured the artist’s eye was the way the young woman leisurely reclined in a striped chair on the yacht’s deck. What captivated his soul was her air of nonchalance, the way she gazed at the sea and the ships sailing by… her dreamlike demeanor that beautifully captured the essence of opulent living.

Henri de Toulouse-Lautrec, French Artist, 1864-1901
La Passagère du 54 – Promenade en Yacht, 1896, Lithograph in olive green, 596 by 400 mm, Private Collection

Working with a few scant references… his memory, a photograph secretly taken on board by his friend, the photographer Maurice Guibert, and sketches he did, based on the photograph, Toulouse-Lautrec finished his coloured lithograph by the end of autumn 1895. The lithograph skillfully depicted the casual and fleeting nature of a quick glance, reflecting a style that Lautrec had honed in his paintings and prints during the 1890s. He executed the work with a keen and swift hand, using graphite for precise touches. The focus was on the figure, delicately outlining details such as the upper edge of the straw boater hat, the swept-back hair, the contours of the shirt and jacket lapel, the seam and fold in the puffed shoulder of the sleeve, the meticulous upturn of the glove cuff, the graceful curves of the deck chair, and the smooth shading on the cover of the open book. These adjustments appear to correspond to the red highlights that were included in the coloured version.

The warm, yellowish tones of the deck, chair, and the woman’s hair harmoniously blend with the vibrant blues of the sea and the text (in the later, poster version), showcasing the artist’s masterful understanding and application of colour. This skillful use of colour invites the viewers to immerse themselves in the private world of the young woman, allowing them to intimately experience the cozy and tranquil atmosphere depicted in the artwork.

Henri de Toulouse-Lautrec, French Artist, 1864-1901
La Passagère du 54 – Promenade en Yacht, 1895–96. Color lithographic poster, 60.4 × 39.7 cm, Princeton University Art Museum
Henri de Toulouse-Lautrec, French Artist, 1864-1901
La Passagère du 54 – Promenade en Yacht, 1895, Lithograph on cream Japon Impérial paper in olive green, 600×400 mm, Private Collection

Maurice Joyant, gallerist, and biographer of Henri de Toulouse-Lautrec wrote for the poster of the beautiful passagère… Chose exquise de ton, d’élégance, d’expression de laisser-aller, de la douceur de vivre, le regard errant, par beau temps. http://www.maitres-des-arts-graphiques.com/Toulouse-Lautrec,%20Passagere.html

For a Student Activity titled Exploring Toulouse-Lautrec’s Iconic Posters, please… Check HERE!

A short Video of La Passagère du 54 – Promenade en Yacht, created by NGA of Australia, is recommended… https://searchthecollection.nga.gov.au/object/168065

Memories steeped in dream, The Art of the Multiple, from the Collection of the Basil & Εlise Goulandris Foundation (05.08 – 03.12 2023) is an upcoming Exhibition in the B&E Goulandris Foundation, in Athens, Greece. Artworks by Henri de Toulouse-Lautrec, Aristide Maillol, Henri Matisse, Fernand Léger, Pablo Picasso, Georges Braque, Joan Miró, and Balthus will be presented. The lithograph of La Passagère will be among the Stars of the Exhibition! https://goulandris.gr/en/exhibition/memories-steeped-in-dream#

Photo Credits: https://goulandris.gr/el/exhibition/memories-steeped-in-dream and https://static.artmuseum.princeton.edu/mirador3/?manifest=https://data.artmuseum.princeton.edu/iiif/objects/10362&canvas=https://data.artmuseum.princeton.edu/iiif/objects/10362/canvas/10362-canvas-121774 and https://www.sothebys.com/en/auctions/ecatalogue/2014/prints-n09138/lot.139.html and http://www.maitres-des-arts-graphiques.com/Toulouse-Lautrec,%20Passagere.html

Olympe de Gouges

by 18th century ArtArtFrench ArtRococoSocial StudiesStudent ActivitiesWorksheets
Alexander Kucharsky, 1741–1819
Portrait of Olympe de Gouges, 18th century, pastel on canvas, Private Collection https://commons.wikimedia.org/wiki/File:Olympe_de_Gouges.png

Yesterday, at seven o’clock in the evening, a most extraordinary person called Olympe de Gouges who held the imposing title of woman of letters, was taken to the scaffold, while all of Paris, while admiring her beauty, knew that she didn’t even know her alphabet… She approached the scaffold with a calm and serene expression on her face and forced the guillotine’s furies, which had driven her to this place of torture, to admit that such courage and beauty had never been seen before… That woman… had thrown herself in the Revolution, body, and soul. But having quickly perceived how atrocious the system adopted by the Jacobins was, she chose to retrace her steps. She attempted to unmask the villains through the literary productions which she had printed and put up. They never forgave her, and she paid for her carelessness with her head… wrote an anonymous Parisian who kept a chronicle of the 1793 events. https://en.wikipedia.org/wiki/Olympe_de_Gouges

Olympe de Gouges was a French playwright, novelist, and political activist who is best known for her writings on women’s rights and social justice. She was born Marie Gouze on May 7, 1748, in Montauban, France. Her mother, Anne Olympe Mouisset Gouze, was the daughter of a bourgeois family, but the identity of her father is ambiguous. Marie Gouze encouraged rumors that Jean-Jacques Lefranc, Marquis de Pompignan was her father, and their relationship is considered plausible but historically unverifiable.

In 1765, Olympe de Gouges married Louis-Yves Aubry, a man much older than her. The marriage was an unhappy one. In 1766 her husband died, and Olympe, funded by her wealthy friend, Jacques Biétrix de Rozières, moved to Paris in 1770 to pursue a career in writing. Described as one of the prettiest women in Paris, de Gouges socialized in fashionable society, attending the most artistic and philosophical salons of Paris. She wrote plays, novels, and pamphlets on a variety of topics, including women’s rights, slavery, and political reform. Her most famous work is the Declaration of the Rights of Woman and the Female Citizen, which she wrote in response to the Declaration of the Rights of Man and Citizen during the French Revolution.

She was an advocate for women’s suffrage and believed that women should have the same rights as men. She also spoke out against the slave trade and called for the abolition of slavery. De Gouges was an active participant in the French Revolution and supported the Girondists, a moderate political group. However, her views were unpopular with the radical Jacobin faction, and she was arrested and executed by the guillotine on November 3, 1793, during the Reign of Terror. De Gouges’ legacy as a feminist and social justice advocate has been recognized in recent years. Her name is now engraved on the Pantheon in Paris, a mausoleum that honors distinguished French citizens.

Declaration of the Rights of Woman and the Female Citizen, 1791
https://upload.wikimedia.org/wikipedia/commons/3/34/DDFC.jpg

Olympe de Gouges wrote The Declaration of the Rights of Woman and the Female Citizen in 1791, during the French Revolution. The revolution brought about a lot of discussion about individual rights and freedoms, and Gouges saw this as an opportunity to advocate for women’s rights as well. As a feminist writer and activist, who believed in the equality of men and women, Gouges was particularly concerned with the ways in which women were excluded from political and legal rights, and the ways in which they were treated as inferior to men in society. She believed that women were capable of reason and should be granted the same rights and opportunities as men.

The Declaration of the Rights of Woman and the Female Citizen was Gouges’ response to the Declaration of the Rights of Man and of the Citizen, which was passed by the National Assembly in 1789 and proclaimed the equality of all men. Gouges argued that this declaration did not go far enough and that women were also entitled to the same rights and freedoms. In her declaration, Gouges called for women to have the right to vote, to hold public office, and to receive education. She also argued that marriage should be based on mutual consent and that women should have the right to divorce if they wished. Her declaration was a radical and controversial document at the time, and it was not widely accepted by the French government or society.

Hoping to expose the failures of the French Revolution in the recognition of gender equality.. Houges’ The Declaration of the Rights of Woman starts…

Mothers, daughters, sisters, female representatives of the nation ask to be constituted as a national assembly. Considering that ignorance, neglect, or contempt for the rights of woman are the sole causes of public misfortunes and governmental corruption, they have resolved to set forth in a solemn declaration the natural, inalienable, and sacred rights of woman: so that by being constantly present to all the members of the social body this declaration may always remind them of their rights and duties; so that by being liable at every moment to comparison with the aim of any and all political institutions the acts of women’s and men’s powers may be the more fully respected; and so that by being founded henceforward on simple and incontestable principles the demands of the citizenesses may always tend toward maintaining the constitution, good morals, and the general welfare.

In consequence, the sex that is superior in beauty as in courage, needed in maternal sufferings, recognizes and declares, in the presence and under the auspices of the Supreme Being, the following rights of woman and the citizeness… https://revolution.chnm.org/d/293

For a Student Activity, please… Check HERE!

The Fourth of July 1916

by 20th century ArtAmerican ArtArtImpressionismStudent ActivitiesWorksheets
Childe Hassam, American Artist, 1859-1935
The Fourth of July 1916, 1916, oil on canvas, 91.4 x 66.7 cm, New York Historical Society, USA https://commons.wikimedia.org/wiki/File:The_Fourth_of_July,_1916_Childe_Hassam.jpg

A glorious sea of American flags, crowded streets, and Fifth Avenue skyscrapers, The Fourth of July 1916 (The Greatest Display of the American Flag Ever Seen in New York, Climax of the Preparedness Parade in May) by Childe Hassam (1859-1935) is a beloved work of American Impressionism. It was painted at the height of Hassam’s powers and is one of some 30 related paintings of flag-decorated streets that the artist produced between 1916 and 1919, during and immediately after the First World War. That they are intensely patriotic works is patent, while aesthetically they bear witness to the example of Claude Monet, both in the subject (Monet created two paintings of flag-bedecked avenues on a single day in 1878) and in the concept (a series of paintings of a motif, such as haystacks or Rouen Cathedral). https://www.nyhistory.org/exhibitions/fourth-july-1916 and https://www.whitehousehistory.org/photos/treasures-of-the-white-house-avenue-in-the-rain

Childe Hassam (1859-1935) was an American Impressionist painter known for his depictions of urban landscapes, cityscapes, and seascapes. He was born Frederick Childe Hassam in Dorchester, Massachusetts, and grew up in a middle-class family. Hassam showed an early interest in art and studied at the Boston Art Club and the Lowell Institute. He worked as an apprentice in a wood engraving firm and began his career as a freelance illustrator, creating illustrations for magazines and newspapers. In the spring of 1886, along with his wife Kathleen Maude Doane, he traveled to Paris to study painting at the Académie Julian. While in Paris, Hassam was greatly influenced by the Impressionist movement, which was then emerging in France. He was particularly drawn to the work of Claude Monet and the French Impressionists, and he began to incorporate their techniques into his own work. He returned to the United States in 1889 and recognizing the prominence of New York as an international art center, he settled in New York City, where he established himself as a leading American Impressionist painter. https://www.nga.gov/collection/artist-info.1379.html

Throughout his career, Hassam painted a wide range of subjects, including landscapes, cityscapes, seascapes, and portraits. He was especially known for his depictions of urban life in New York City, and his paintings capture the energy and vibrancy of the city. Hassam was also deeply patriotic and painted many works featuring the American flag, which he saw as a symbol of national unity and identity. https://www.nga.gov/collection/artist-info.1379.html

As a prominent member of the US Preparedness Movement, Hassam created a series of paintings known as the Flag Series, which featured American flags prominently displayed in various settings, including urban landscapes and rural scenes. These paintings were seen as a way of promoting patriotism and support for the US Preparedness Movement.

Childe Hassam, American Artist, 1859-1935
The Fourth of July 1916 (detail), 1916, oil on canvas, 91.4 x 66.7 cm, New York Historical Society, USA
https://www.americanacorner.com/blog/united-states-flag

The Fourth of July 1916 (The Greatest Display of the American Flag Ever Seen in New York, Climax of the Preparedness Parade in May), is one of the first paintings created for the Flag Series. It shows the bustling 5th Avenue decorated for the July 4th, Independence Day holiday. Hassam’s brushwork is loose and expressive, creating a sense of movement and energy within the painting, his gestural brushwork, expressive and spontaneous, generates movement and energy, and his color choice of primarily red, white, and blue keenly echoes the colors of the American flag, adding to the lively and vibrant feel of the composition. As Dr. William H. Gerdts has noted, “Hassam was already recognized as one of the artists most identified with ‘Americanness,’ but it was in these works that he was able to give the modern cityscape patriotic and spiritual resonance. This pictorial sequence constitutes one of the greatest achievements of American art.” https://www.christies.com/en/lot/lot-5793601

For a Student Activity, inspired by Childe Hassam’s, The Fourth of July 1916, please… Check HERE!

Childe Hassam, American Artist, 1859-1935
Flag Day, Fifth Avenue, July 4th, 1916, 1916, watercolor, ink and chalk on paper, 26 x 17.1 cm, Private Collection https://www.christies.com/en/lot/lot-5793601

Fish and Waves by Louis Comfort Tiffany

by 20th century ArtAmerican ArtArtArt NouveauStudent ActivitiesWorksheets
Louis Comfort Tiffany, American artist, 1848 – 1933 – Tiffany Glass and Decorating Company
Fish and Waves Table Lamp, attributed to Clara Driscoll, circa 1900- 1903, Leaded Glass, patinated bronze, H. 38.1 cm, Private Collection
https://www.sothebys.com/en/articles/tiffanys-aquarium-in-stained-glass

In a 1917 Harper’s Bazaar article, Louis Comfort Tiffany explained how he combined his love of water and his appreciation of Asian art and symbolism, in the decoration and landscaping of his home, Laurelton Hall: “Well, you see…here water is used as an element of beauty, following the methods of the Far East. The Orientals worship water. To them, it is a treasure rare, a guest they honor. Here it not only harmonizes with the architectural scheme, but the vital liquid suggests hope, a message even to those living in the arid places of life. So here I have a cascade. Just listen to its merry music as it splashes over the rockery. It is the quick movement of the water that interests me, constant and pure as sunlight. I glory in its whimsicality. Fish and Waves by Louis Comfort Tiffany, the artist’s rare and iconic Table Lamp, best exemplifies his belief. https://www.sothebys.com/en/articles/tiffanys-aquarium-in-stained-glass

When I think of Louis Comfort Tiffany, I think of nature’s power, its brittleness, and joy. I think of radiance, luminosity, and brilliance in colour… Let’s start by answering some questions about the great American creator, starting with Who …

Who was Louis Comfort Tiffany (1848-1933)? He was an American artist and designer best known for his work in stained glass. He was born in New York City to a family of artists and craftsmen and was educated at the Pennsylvania Academy of the Fine Arts and the National Academy of Design. Tiffany began his career as a painter but soon turned his attention to decorative arts and design. In 1879, he founded the Louis Comfort Tiffany and Associated Artists, which produced furniture, ceramics, and metalwork, as well as stained glass. Tiffany’s most famous work is his stained glass, which he began producing in the 1880s. He developed a technique for producing iridescent glass, known as Favrile glass, which became one of his trademarks. In addition to his work in stained glass, Tiffany was also a prolific interior designer and created a number of luxurious and ornate interiors for wealthy clients. He was also involved in the design of jewelry, particularly in the Art Nouveau style. Tiffany was a prominent figure in the art world of his time and received numerous awards and honors throughout his career.

Who were the artists or craftsmen who worked with Tiffany to create his iconic stained glass artworks? Tiffany had a team of skilled artisans and craftsmen who worked with him at his studio, the Tiffany Studios, in New York City. These artisans and craftsmen were responsible for creating the various components of the stained glass window, including cutting and assembling the glass pieces, creating the metal framework, and painting and firing the glass. Some of the notable artisans who worked at the Tiffany Studios were women, like Agnes F. Northrop, who was the head of the Women’s Glass Cutting Department, and Clara Driscoll, who was the head of the Women’s Glass Decorating Department. Other skilled workers at the studio included glass cutters, glass painters, and metalworkers who helped bring Tiffany’s designs to life.

Who was Clara Driscoll, the head of the Women’s Glass Decorating Department at Louis Comfort Tiffany Studio? Clara Driscoll was an American artist and designer who worked for Louis Comfort Tiffany’s studio, primarily designing lamps and mosaics. She was born in 1861 in Tallmadge, Ohio, and studied art and design at the Western Reserve College in Hudson, Ohio, and the Metropolitan Museum of Art in New York City. Driscoll began working for Tiffany in 1888 and quickly rose through the ranks to become the head of the Women’s Glass Cutting Department. She was responsible for designing many of Tiffany’s most famous lamps, including the Dragonfly, Wisteria, Peony lamps, and Fish and Waves Table Lamp. Driscoll’s contributions to Tiffany’s studio were largely uncredited during her lifetime. However, in recent years, her contributions have been more widely recognized, and she is now considered to be one of the most important designers of the Art Nouveau period. In 2007, a collection of her personal letters was discovered, shedding new light on her contributions to Tiffany’s studio and her life as a female artist in the early 20th century.

Tiffany’s Table Lamp ‘Fish and Waves’ is perhaps the finest representation of water’s ever-changing beauty, Tiffany’s fascination with the Orient, and goldfish vigorously swimming among the seaweed. This is a fine example of how Tiffany brilliantly combined the Art of Glass and Metalwork. Let’s finish this presentation with questions starting with How…

How can we introduce Tiffany’s Table Lamp ‘Fish and Waves’? Dated circa 1900-1903, the ‘Fish and Waves’ Table Lamp is known for its intricate and colorful design featuring a school of goldfish swimming among waves of blue and green glass. The designer is believed to be Clara Driscoll. The inspiration comes from Tiffany’s fascination with the Far East, and particularly Koi, the Japanese goldfish that symbolizes perseverance and inner strength as well as prosperity.

How does Clara Driscoll describe Tiffany’s fascination with Japanese Art? In a letter in 1898, she revealingly notes that Tiffany’s home was filled with Japanese art… ‘like a dream of poetry and harmony that might have come out of the East. It is somewhat oriental in effect but not in detail. As if Mr. Tiffany had gone to the same great sources of inspiration but had evolved his own conception of their great principles. I told him that I felt that his work was in some ways suggestive of Eastern thought, which seemed to please him – and he said, ‘Yes I have always been influenced by the oriental idea of form and color’. He said he thought that I was gaining in my work and that I was thinking in the right direction.’ https://www.ngv.vic.gov.au/essay/tiffany-studio-clara-driscoll/

Louis Comfort Tiffany, American artist, 1848 – 1933 – Tiffany Glass and Decorating Company
Fish and Waves Table Lamp, attributed to Clara Driscoll, circa 1900- 1903, Leaded Glass, patinated bronze, H. 38.1 cm, Private Collection
https://www.sothebys.com/en/articles/tiffanys-aquarium-in-stained-glass

How would the ‘Fish and Waves’ Table Lamp Shade be described? The shade, of a ‘circular’ shape with a diameter of around 40.6 cm, is made up of hundreds of individual pieces of stained glass, each carefully cut and soldered together to create the complex design of an unsurpassed sense of motion. The depicted goldfish, brilliantly rendered in amber and orange-streaked yellow glass, swim counter-clockwise, among the sinuous vertical strands of seaweed, in glorious shades of green, aquamarine, teal, and blue, that sway gently upwards, with some overlapping a few of the goldfish. The glass selected for the background water passages is equally exceptional. Composed of rippled transparent green-streaked navy and blue glass, the pieces were placed so that the ripples go in a number of different directions, greatly adding to the overall effect of moving water. Mauve glass streaked with brilliant jewel-tone hues is selectively interspersed, evoking the sense of light reflecting on the water’s surface.

How would the ‘Fish and Waves’ Table Lamp cast bronze base be described? The base of the lamp is typically made of cast bronze, and it features three large fish swimming upwards against the current towards cresting waves surmounted by a rope-twist collar that supports the shade. The casting is of phenomenal quality, as is the applied rich brown patina with green highlights. https://www.sothebys.com/en/articles/tiffanys-aquarium-in-stained-glass

In 2019, Paul Doros, presenting the Fish and Waves by Louis Comfort Tiffany Table Lamp for Sotheby’s, wrote… A major aspect of Tiffany Studios’ marketing at the turn of the 20th Century was to proclaim that their glass and lamps were true works of art, the equivalent of any great painting or sculpture. This unique example of their Fish and Waves lamp superbly exemplifies that claim and highlights the firm’s remarkable standards of excellence in both manufacturing and aesthetics. It is indeed a masterwork and an object to be revered and treasured by all admirers of Tiffany’s oeuvre. https://www.sothebys.com/en/articles/tiffanys-aquarium-in-stained-glass

For a Student Activity inspired by Fish and Waves by Louis Comfort Tiffany, please… Check HERE!

Persephone as Isis and Hades as Sarapis

by Ancient Greek ArtArtEducationGreek ArtMythologyRoman ArtStudent ActivitiesWorksheets
Statue Group of Persephone as Isis and Hades as Sarapis, 180-190 AD, Marble, from Gortyn, the island of Grete, Greece

Persephone, Daughter of Zeus, blessed / Only begotten, gracious Goddess, receive this good offering, / Much honoured, you, overpowered by Hades, / you are beloved and lifegiving, / You hold the doors of Hades under the depths of the earth; / Transactor of Justice, your beloved hair the sacred olive branch of the enemy / Mother of the Eumenides, Queen of the Underworld, / You, maiden from Zeus through secret begetting… / … Listen, blessed Goddess and send up fruits from the earth / In peace, flourishing in health from your soothing hand; / And, in life abundance, leading to richness of old age / Then to your realm O Sovereign, and to powerful Hades… and I am reminded of The Statue Group of Persephone as Isis and Hades as Sarapis in the Heraklion Archaeological Museum in Crete… some questions and answers! https://godofthemonth.livejournal.com/2759.html

Where were the statues of Persephone as Isis and Hades as Sarapis found? The statues were discovered on the Island of Crete, in the Temple of the Egyptian Gods in the ancient city of Gortyn.

Few words about the Temple of the Egyptian Gods in Gortyn… It is a significant monument from the ancient world that provides insight into the religious and cultural life of the city. The temple was built during the Roman period and was dedicated to the worship of Egyptian gods, including Isis, Serapis, and Anubis. The temple was likely constructed as a result of the influence of Egyptian culture in Gortyn, as well as the growing popularity of the Egyptian gods in the Roman world. It is a symbol of the cultural diversity of the city and its cosmopolitan nature. The Temple was first excavated by G. Oliverio, in 1914.

Few words about the ancient city of Gortyn… an ancient city located in Crete, Greece, and the capital of the Roman province of Crete and Cyrenaica. It was one of the most important cities in ancient Crete and was a center of politics, culture, and commerce. In its heyday, Gortyn was a thriving city with a diverse population. The city was known for its impressive architecture, including temples, like that of the Egyptian Gods, public buildings like the Roman Odeon, and impressive fortifications. The city was home to the Gortyn Code, a set of laws and regulations that governed the lives of the people of Crete and regulated everything from trade and commerce to marriage and family life.

Few words about the statues of Persephone as Isis and Hades as Sarapis… The statues from the Temple of the Egyptian Gods at Gortyn combine iconographic elements and symbols of Hellenic and Egyptian deities alike. The figure of Persephone as Isis is depicted frontally holding a sistrum and wearing a mantle crowned with a disk, the symbol of the sun, between two horns. Hades as Sarapis stands frontally as well. He is crowned with the modius, or grain measure, and holds the scepter of his divine authority in his left hand. On his right is Cerverus, facing the viewer, ferocious-looking and fierce. https://www.heraklionmuseum.gr/en/exhibit/isis-persephone-and-sarapis-hades/

Who were the Greek Gods Persephone and Hades? Persephone and Hades are divine figures from ancient Greek mythology. Persephone was the daughter of Zeus and Demeter, the goddess of agriculture and harvest. Hades was the god of the underworld and the dead.

The myth of Persephone and Hades begins with the kidnapping of Persephone by Hades. According to the story, Hades was so enamored with Persephone that he abducted her and took her to the underworld to be his bride. This caused great distress for Demeter, who searched the earth for her daughter and caused the crops to wither and die. To resolve the situation, Zeus intervened and arranged for Persephone to spend half of the year with her mother and half of the year with her husband in the underworld. During the time that Persephone was with Demeter, the crops would grow and the earth would be fertile, but during the time she was with Hades, the earth would become barren.

This is why the ancient Greeks associated the myth with the changing of the seasons and the cycle of death and rebirth. In addition to being a story about the changing of the seasons, the myth of Persephone and Hades also symbolizes the journey of the soul and the transition from life to death. Hades represents the dark, mysterious, and unknown aspects of the afterlife, while Persephone represents the soul that must journey through this realm. The myth of Persephone and Hades is undoubtedly an important and enduring tale in Greek mythology that continues to captivate audiences to this day.

Why and How did the Greek Gods, Persephone, and Hades, connect with the Egyptian Gods Isis and Sarapis? The cult of the Egyptian Gods is attested at many sites of the ancient Greek world and became quite popular during the Hellenistic period. The amalgamation of the attributes of the Egyptian deities Isis and Sarapis with those of the Greek Persephone and Hades is a syncretic phenomenon observed during the Hellenistic and Roman periods. https://www.heraklionmuseum.gr/en/exhibit/isis-persephone-and-sarapis-hades/

One of the key similarities between Persephone and Isis is their association with the afterlife and the underworld. Persephone was abducted by Hades and became the queen of the underworld, while Isis was often depicted as the “Lady of the Tomb” and was associated with the afterlife and the dead. Both figures were also associated with the idea of rebirth and renewal and were revered as powerful, nurturing goddesses who could bring life and fertility to the earth. In both myths, the goddess was seen as a powerful figure who could help guide the souls of the dead through the afterlife and ensure that they reached their final resting place.

The Egyptian God Sarapis is thought to be a creation of Ptolemaic Egypt, an amalgama of Osiris, husband of Isis, Apis, and Hades. Sarapis was widely worshipped in the Hellenistic world and was particularly popular in the city of Alexandria in Egypt. He was depicted as a powerful and benevolent ruler of the underworld and was seen as a savior figure who could grant salvation to those who worshipped him. Despite their different origins, both Hades and Sarapis were seen as gods of the underworld who held sway over the fate of the dead. In this sense, they both represented the powers of death and the afterlife in the ancient world. https://www.heraklionmuseum.gr/en/exhibit/isis-persephone-and-sarapis-hades/

For a Student Activity, please… Check HERE!

Photo Credit: https://www.heraklionmuseum.gr/en/exhibit/isis-persephone-and-sarapis-hades/

The Enameled Murano Beaker at Musée Jacquemart-André

by 15th century Italian Renaissance ArtArtItalian Renaissance ArtRenaissanceRenaissance ArtStudent ActivitiesWorksheets
Enameled blue beaker with Annunciation, late 15th century, Enamelled Glass, H. 10.2 cm, Musée Jacquemart-André, inv. no. MJAPOA 934, Paris France (Photo Credit: Marya Stamatiadi, March 2023)

Finally, after centuries of isolated beginnings and endings, rediscoveries and losses, Venetian workers in the mid-15th century commenced a tradition of enameling on glass vessels that would become widely disseminated in other European glassworking cultures—and continue to be practiced, without interruption, to the present day. A new BLOG POST on The Enameled Murano Beaker at Musée Jacquemart-André is my lead to investigating the art of glass enameling in the Venetian lagoon. https://www.cmog.org/article/enameled-glass-vessels-1425-bce-1800-decorating-process

I know little about Enameled Glass, but the Murano beaker I saw at Musée Jacquemart-André got me interested in investigating its type further. The internet site of the Museum, unfortunately, provided no information on the enameled beaker in its collection. The Corning Museum of Glass, however, provided valuable information on Enameled Glass in general. Based on the information I read, let me answer some questions starting with What, and How https://home.cmog.org/

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. For a most useful and detailed description of how an Enameled Glass piece is created, you can read a 15th-century manuscript in the Library of San Salvatore in Bologna. It was brought to scholarly attention in 1982 by Hugh Tait… the text says: To paint glass, that is to say, cups or any other works in glass with smalti or any colour you please, take the smalti you wish to use, and let them be soft and fusible, and pound them upon marble or porphyry in the same way that the goldsmiths do. Then wash the powder and apply it upon your glass as you please and let the colour dry thoroughly; then put the glass upon the rim of the chamber in which glasses are cooled, on the side from which the glasses are taken out cold, and gradually introduce it into the chamber towards the fire which comes out of the furnace and take care you do not push too fast lest the heat should split it, and when you see that it is thoroughly heated, take it up with the pontello and fix it to the pontello and put it in the mouth of the furnace, heating it and introducing it gradually. When you see the smalti shine and that they have flowed well, take the glass out and put it in the chamber to cool, and it is done… All About Glass | Corning Museum of Glass (cmog.org)

How did Enameled Glass develop, chronologically up to and including the 16th century, in Murano, Italy? A. 1291 AD: The furnaces of all glassmakers in Venice were relocated to the island of Murano due to the risk of fires. This was the start of the concentration of the Venetian glassmaking industry in Murano. B. 14th century: During this period, Venetian glassmakers began to gain renown for their high-quality and innovative creations. The art of enameling glass, known in Venice since the Middle Ages, was probably inspired by Byzantine models. C. 15th and 16th centuries: The peak of the art of enameled glass in Murano was achieved. Artists such as Angelo Barovier and the workshop of the “Seguso” family introduced a refined style of painting on glass with enamels, creating objects of extraordinary beauty. During this time, Venetian Enameled Glass, often decorated with scenes from contemporary life or mythology, was sought after by the wealthiest and most powerful individuals in Europe.

Enameled blue beaker with Annunciation (Detail), late 15th century, Enamelled Glass, H. 10.2 cm, Musée Jacquemart-André, inv. no. MJAPOA 934, Paris France (Photo Credit: Marya Stamatiadi, March 2023)

What do we know about the Enamelled Murano Beaker at Musée Jacquemart-André? Personally, very little. Great help in my quest to learn about this precious piece of glass making, has been reading two articles, The Renaissance Enameled Vessels from Padua Santa Chiara Monastery by Silvia Ferucci, Rosa Barovier Mentasti, and Cristina Tonini (pages 92-94) and Authentic or Not? Searching for Firm Ground in the Discussion on Renaissance Venetian Gilded and Enameled Glasses by Françoise Barbe, Erwin Baumgartner (Journal of Glass Studies, Vol. 63 (2021), page 152) https://www.academia.edu/60865313/Renaissance_Enamelled_Vessels_Padua_Santa_Chiara_Convent_Cristina_Tonini_Silvia_Ferucci_Rosa_Barovier_Mentasti, and https://www.jstor.org/stable/48635697?read-now=1#page_scan_tab_contents

According to Ferucci, Barovier Mentasti, and Tonini… The Annunciation was a subject of Venetian enameled decoration on glass since the early seventies of the 15th century, at least. A list, for example, dated March 31, 1474, of glass beakers by Giovanni da Lodi, enameller active in Murano, includes a beaker with the Annunciation (uno cieto a nuntiata). The 200-2001 excavations conducted in the Monastery of Santa Chiara in Padua revealed four enameled Glass beakers with an Annunciation scene dating towards the end of the 15th century and the beginning of the 16th century.

Enameled blue beaker with Annunciation, c. 1470-1490, archaeological find, Santa Chiara Convent, Padova, Italy, and Enameled blue beaker with Annunciation, late 15th century, Enamelled Glass, H. 10.2 cm, Musée Jacquemart-André, inv. no. MJAPOA 934, Paris France (Photo Credit: Marya Stamatiadi, March 2023)

The four Padua beakers with the Annunciation show the Virgin announced and the archangel Gabriel, each inside a simple roundel of white or yellow colour. The only difference is that in one of the beakers, a plush yellow and white laurel wreath is added around the white roundel. According to the authors, this embellished beaker is similar to the  Annunciation blue beaker kept in the Musée Jacquemart André in Paris. Édouard André, (1833-1894), the authors add, and Nélie Jacquemart (1841-1912), his wife, collected Italian art and decorative art, showing a particular interest also in Venetian art, like the blue glass beaker. The only difference, according to my humble opinion, is that the green/terracotta red wreath of the Musée Jacquemart André is thinner and less luxurious looking, yet perfectly fitting and complementing the composition’s colour scheme.

The next information comes from the article of Françoise Barbe and Erwin Baumgartner. The authors stress the importance of the archaeological discovery in the convent of Santa Chiara in Padua. They also stress the stylistic similarities between the two glass beakers (in Padua and in Paris). However, when a glass analysis was performed for each glass beaker, the results showed differences in their composition. Thus, Barbe and Baumgartner presented three questions: 1. Was the Paris glass beaker in the façon de Venise, produced during the Renaissance period, but in a different location than Venice? Was it a copy made during a later chronological period to complete, for example, an antique-style series? Or was it a fake? The authors believe that there is no decisive answer to any one of the three questions and further investigation is in demand.

For a Student Activity, please… Check HERE!

Photo Credit for the Padua Annunciation Beaker… https://www.academia.edu/60865313/Renaissance_Enamelled_Vessels_Padua_Santa_Chiara_Convent_Cristina_Tonini_Silvia_Ferucci_Rosa_Barovier_Mentasti