Student Activities Archives - Page 6 of 25

The Fourth of July 1916

July 3, 2023

by admin 20th century Art American Art Art Impressionism Student Activities Worksheets

**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 5^th 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

June 27, 2023

by admin 20th century Art American Art Art Art Nouveau Student Activities Worksheets

**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 20^th 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/

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

June 18, 2023

by admin Ancient Greek Art Art Education Greek Art Mythology Roman Art Student Activities Worksheets

**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

June 13, 2023

by admin 15th century Italian Renaissance Art Art Italian Renaissance Art Renaissance Renaissance Art Student Activities Worksheets

**Enameled blue beaker with Annunciation,** late 15^th 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 16^th 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. 14^th 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. 15^th and 16^th 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 15^th 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 15^th 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 15^th century and the beginning of the 16^th century.

**Enameled blue beaker with Annunciation,** c. 1470-1490, archaeological ﬁnd, Santa Chiara Convent, Padova, Italy, and **Enameled blue beaker with Annunciation,** late 15^th 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

Seascape Study with Rain Cloud by John Constable

June 4, 2023

by admin 19th century Art Art Art of the United Kingdom Romanticism Student Activities Worksheets

**John Constable**, Artist of the United Kingdom, 1776–1837
**Seascape Study with Rain Cloud (Rainstorm over the Sea),** 1824-1828, Oil on paper laid on canvas, 22.2×31.1 cm, Royal Academy of Arts, London, UK https://upload.wikimedia.org/wikipedia/commons/c/c7/Constable_-_Seascape_Study_with_Rain_Cloud.jpg

…Look! look! that livid flash! / And instantly follows the rattling thunder, / As if some cloud-crag, split asunder, / Fell, splintering with a ruinous crash, / On the Earth, which crouches in silence under; / And now a solid gray wall of rain / Shuts off the landscape, mile by mile; / For a breath’s space I see the blue wood again, / And, ere the next heart-beat, the wind-hurled pile… writes James Russell Lowell and the Seascape Study with Rain Cloud by John Constable in the Royal Academy of Arts comes to my mind. https://www.gutenberg.org/files/38520/38520-h/38520-h.htm, page 97

John Constable, a British landscape painter who was known for his beautiful paintings of the English countryside, was also fond of rendering the dramatic English sky. In fact, in a letter to fellow artist and friend John Fisher, he wrote back in 1821… It will be difficult to name a class of landscape in which the sky is not the keynote, the standard of scale, and the chief organ of sentiment. The sky is the source of light in nature, and it governs everything. If you paint the colours of the sky and reflected light, you cannot do otherwise than produce beautiful pictures. https://artsandculture.google.com/asset/clouds-john-constable/IwH3AnjdEZxMEg

Constable believed that clouds were an essential element in creating a sense of atmosphere and mood in landscape paintings. He studied them carefully and believed that they were constantly changing, creating an ever-evolving and dynamic landscape. In his paintings, he often depicted large, billowing clouds that filled the sky, adding drama and depth to his compositions. He used a variety of techniques to capture the fleeting nature of clouds, including layering paint and using bold brushstrokes to create texture and movement. His works continue to inspire artists today, and his philosophy on the importance of capturing the ever-changing beauty of nature, including clouds, remains relevant.

Constable’s love for clouds is evident in his many paintings, including Seascape Study with Rain Cloud, a painting created between 1822 and 1824 in Brighton, and currently held in the collection of the Royal Academy of Arts in London. According to the Museum experts… This is one of the most dramatic studies of sea and sky that Constable sketched at Brighton. The thunderous black clouds and torrential downpour have been painted rapidly to capture the fleeting nature of the scene. https://www.royalacademy.org.uk/art-artists/work-of-art/rainstorm-over-the-sea

The painting depicts a seascape with a large rain cloud looming in the distance. The sea is choppy, and the waves are rough, with white caps visible on the surface of the water. The sky is dark and moody, with the rain cloud dominating the upper half of the painting. The lower half of the painting features the sea and the horizon, with a few distant boats visible on the horizon.

The painting is a study of mood and atmosphere, with Constable expertly capturing the power of nature. The sky has been created with a series of hasty sweeps of the brush. The surface of the sea has been given emphasis by a number of horizontal incisions perhaps with the end of the brush. The dark, stormy sky and the shaft of sunlight suddenly breaking through the glowering black clouds is beautiful, uplifting… sublime! https://www.royalacademy.org.uk/art-artists/work-of-art/rainstorm-over-the-sea

Seascape Study with Rain Cloud by John Constable is considered to be one of the artist’s masterpieces and a prime example of his ability to capture the beauty and power of nature in his paintings. It is a significant work in the history of British landscape painting and remains a popular piece in the Royal Academy’s collection.

For a Student Activity, please… Check HERE!

Flaming June

May 31, 2023

by admin 19th century Art Art Student Activities Victorian Art Worksheets

**Frederic, Lord Leighton**, British Artist, 1830–1896
**Flaming June,** 1895, Oil on Canvas, 119.1 × 119.1 cm, Museo de Arte de Ponce, The Luis A. Ferré Foundation, Inc., Ponce, Puerto Rico https://www.art-theoria.com/painting-of-the-month/flaming-june/

According to Leighton, the composition was inspired by the posture of a tired model. He elaborated her sinuous pose and then added sheer orange draperies. Her skin flushed by the sun, she is transformed into a personification of summer heat. The image reflects Leighton’s allegiance to artistic ideals that emphasized harmonious color and form over narrative… Flaming June is currently presented at the MET, in New York City, part of the Victorian Masterpieces from the Museo de Arte de Ponce, Puerto Rico (October 8th, 2022 – February 2024) Exhibition. I first saw the painting in 1997 in Washington DC, as part of The Victorians: British Painting in the Reign of Queen Victoria, 1837-1901 NGA Exhibition. Lord Leighton’s painting was one of the highlights… and rightly so! https://www.metmuseum.org/art/collection/search/888184?&exhibitionId=0&oid=888184&pkgids=undefined and https://www.nga.gov/exhibitions/1997/victorians.html

When Flaming June was first exhibited in 1895 at the Royal Academy in London, it received mixed reviews from the public and critics. Some praised the painting for its beauty and technical skill, while others criticized it for being too decorative and lacking in substance. Over time, Flaming June became one of Lord Leighton’s most celebrated works and is now regarded as a masterpiece of Victorian art. Its popularity is due in part to the fact that it captures the essence of the Aesthetic Movement, which valued beauty and art for art’s sake. The painting’s stunning colours, intricate details, and graceful composition have made it a favorite of art lovers and collectors around the world.

**Leighton’s studio on the eve of the exhibition in 1895**
Photo: Bedford Lemere / Historic England Archive
https://arthive.com/news/2252~Flaming_June_returned_home_for_the_first_time_in_85_years

The first time I saw Flaming June I was stunned by the artist’s use of colour, light, and texture. The painting features an amazing palette of warm oranges, yellows, and reds, contrasted with cool blues and greens. The colour scheme creates a sense of harmony and balance, with the warm tones of the woman’s dress and skin offset by the cool tones of the background and the marble bench.

The use of light and shadow is another important aspect of the painting’s composition. The warm light of the sun illuminates the woman’s neck, face, and body, creating a sense of warmth and intimacy. The play of light and shadow also adds depth and dimensionality to the painting, making it appear almost three-dimensional.

The texture is also notable. Lord Leighton was known for his attention to detail, and this is evident in the intricate folds and drapery of the woman’s dress, which appear almost lifelike. The texture of the marble bench is also finely rendered, with the veins and striations of the stone adding depth and dimension to the painting.

**Frederic, Lord Leighton**, British Artist, 1830–1896
**Flaming June (detail)**, 1894, black and white Chalk on brown Paper, Leighton House Museum, London, UK
https://www.linkedin.com/pulse/art-sir-frederic-leighton-flaming-june-1895-francisco-filipe-cruz/

Overall, the colours, use of light, and textures of Flaming June are integral to the painting’s beauty and impact. The warm, vibrant colours and intricate textures work together to create a sense of luxury and elegance, while the play of light and shadow adds depth and dimension to the painting. The result is a stunning work of art that continues to captivate viewers more than a century after its creation.

Frederic, Lord Leighton (1830-1896) was a British painter and sculptor who is considered one of the most important figures of the Victorian era. He was born in Scarborough, England, and showed an early talent for art, studying under several well-known artists before enrolling at the Royal Academy in London. He was known for his technical skill and attention to detail, and his paintings often featured classical or historical themes. He was particularly interested in the human form, and many of his works depict idealized figures in elegant poses. Leighton’s legacy as an artist is a lasting one. Regarded as one of the most important artists of the Victorian era, his influence can be seen in the work of many artists who came after him.

**Frederic, Lord Leighton**, British Artist, 1830–1896
**Flaming June**, 1894, black and white Chalk on brown Paper, Leighton House Museum, London, UK
https://www.linkedin.com/pulse/art-sir-frederic-leighton-flaming-june-1895-francisco-filipe-cruz/

Flaming June is part of the collection of the Ponce Museum of Art in Ponce, Puerto Rico. The painting was acquired by the Ponce Museum of Art in 1963 and has been on display there ever since.

In the early 20th century, when Victorian art was already falling out of fashion, Samuel Courtauld, the millionaire collector and founder of the Courtauld Institute, called it “the most wonderful painting in existence”. https://www.theguardian.com/artanddesign/2016/jun/20/flaming-june-frederic-lord-leighton-house-museum

For a Student Activity, please… Check HERE!

The curator of the exhibition **Flaming June: The Making of an Icon** (4 November 2016 to 2 April 2017) at Leighton House, Daniel Robbins, assembled five of the six works from the artist’s original 1895 **Studio Installation** **on the eve of the 1895 Exhibition at the Royal Academy.** Besides Flaming June (1895), we can see Lachrymal (Tears), 1895, from the Metropolitan Museum of Art in New York, Between Hope and Fear, The Maid with the Golden Hair, and Candida which have been in private collections since the 19th century. Curators could not trace the sixth canvas, A Study, or Listener, the painting that Leighton sent to the Royal Academy instead of Candida.
https://www.rbkc.gov.uk/museums/past-exhibitions-leighton-house

Léon Bakst

May 25, 2023

by admin 20th century Art Art Art Deco Education Lesson Plans Powerpoints Student Activities Worksheets

**Léon Bakst,** Russian Artist, 1866-1924
**Costume Design for a Woman from the Village, for the Ballet ‘Daphnis and Chloé’, performed at the Théâtre du Châtelet in Paris,** 1912, Watercolor and graphite, 26 × 21.6 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/698631

It is goodbye to scenery designed by a painter blindly subjected to one part of the work, to costumes made by any old dressmaker who strikes a false and foreign note in the production; it is goodbye to the kind of acting, movements, false notes and that terrible, purely literary wealth of details which make modern theatrical production a collection of tiny impressions, without that unique simplicity which emanates from a true work of art… wrote Léon Bakst… and my students loved him!https://www.vam.ac.uk/articles/l%C3%A9on-bakst-design-for-the-ballet

Léon Bakst (Lev Samoylovich Rosenberg, 1866-1924) was a Russian artist and designer, best known for his work in the fields of theatrical and costume design. He was born in Grodno, now in modern-day Belarus, and studied at the St. Petersburg Academy of Arts. Bakst’s most significant contributions were to the Diaghilev Ballets Russes, a Russian ballet company that performed throughout Europe in the early 20th century. Bakst designed sets and costumes for many of the company’s most famous productions, including “The Firebird,” “Petrouchka,” and “The Rite of Spring.” In addition to his work with the Ballets Russes, Bakst also designed costumes for the Moscow Art Theatre and for various operas and plays. He was also an accomplished painter, creating works in a variety of styles including Art Nouveau, Symbolism, Art Deco, and Orientalism.

I am intrigued by the artist’s research into the art of ancient Greece which began in St Petersburg when preparing designs for productions of the Greek tragedies Hippolytus, Antigone, and Oedipus at Colonus in 1902 and 1904. It was apparently further enhanced in 1907 when Léon Bakst visited Greece with Valentin Serov, a journey which ‘had the most profound effect on the artist as it radically affected his palette and inspired his decorative imagination΄. In the Archaeological Museum in Olympia, looking at the statues of female figures, Bakst wrote… I want terribly to run my hand over the marble, to find out what Niobe’s(?) shoulders are like… https://hyperallergic.com/501125/hymn-to-apollo-ancient-greek-art-ballet-russes/ and https://poulwebb.blogspot.com/2022/01/leon-bakst-part-1.html

**Léon Bakst,** Russian Artist, 1866-1924
**Costume Design for Tamara Karsavina as Chloé, for Daphnis et Chloé,** ca. 1912, Graphite and tempera and/or watercolor on paper, 28.2×44.7 cm, Wadsworth Atheneum Museum of Art, Hartford, CT, USA https://isaw.nyu.edu/exhibitions/ballets-russes/objects/72

**Léon Bakst,** Russian Artist, 1866-1924
**Cleopatra, Costume for a Syrian woman**, 1909, cotton, silk, metal studs, paint, length 110.0 cm, National Gallery of Australia, Canberra
**Cleopatra, Costume for a Greek**, 1909, silk, lamé, metallic braid, center back length 96.0 cm, National Gallery of Australia, Canberra
https://searchthecollection.nga.gov.au/landing#/results?keyword=L%C3%A9on%20Bakst&includeParts

The artist’s talent was boundless, wrote the State Tretyakov Gallery experts, reaching the very top in every field of art he touched upon – be it stage design, costume designs, graphics, or painting. There was much to explore… but my 4-Steps to Success Lesson Plan kept me… on track! https://artsandculture.google.com/story/the-collector-of-success-leon-bakst/VQUBSXEITyGILA

My students were enthused by Bakst’s style characterized by bold colors, sinuous lines, intricate patterns, and the use of exotic motifs. They were fascinated by his ability to draw inspiration from Russian folk art, Middle Eastern and East Asian cultures, and Classical Antiquity. His projects, they understood, were revolutionary at the time, and helped to establish a new standard for theatrical design. They were impressed by how contemporary his oeuvre appears and how his work continues to inspire designers and artists today.

A RWAP Student Activity (RWAP stands for: Research – Writing – Art – Project) in a PowerPoint format with eighteen examples of Designs and actual Costumes by Léon Bakst … HERE!

For a PowerPoint, please… Check https://www.teachercurator.com/wp-content/uploads/2023/05/LBakst-Art-PP.pdf

**Léon Bakst,** Russian Artist, 1866-1924
Costume design for Theseus, (Oedipus at Colonus performance at St. Petersburg, Alexandrinsky Theater), 1904, Watercolor and Pencil on Paper, 28 by 21 cm, Private Collection
https://macdougallauction.com/en/catalogue/view?id=5652

The Stavelot Triptych in the Morgan Library

May 20, 2023

by admin Art Byzantine Art Student Activities Worksheets

Stavelot Triptych, ca. 1156-1158, Wood; copper-gilt frames, silver pearls and columns, gilt-brass capitals and bases, vernis brun domes, semi-precious stones, intaglio gems, beads, champlevé, and cloisonné enamels, Wings open: height: 484 mm, width: 660 mm, The Morgan Library and Museum, NY, USA http://corsair.morganlibrary.org/collimages/9/93248v_0001.jpg

The Stavelot Triptych in the Morgan Library tells us the story of Byzantine and Romanesque Art at its finest. Two worlds united in harmony… brilliant, luxurious, and precious, the triptych in the Morgan Library provides a telling meeting ground for East and West. The Eastern symbolic representation of Constantine and Helena is juxtaposed to the Western narrative mode, and Byzantine liturgy and hagiography (in which Constantine is a Saint) are contrasted with their Western counterparts. Magnificent, skillfully made, and radiant, the Stavelot Triptych is an uncontested masterpiece of the 12th-century Renaissance. The Glory of Byzantium: Art and Culture of the Middle Byzantine Era, A.D. 843–1261, pp. 461-463 by William M. Voelkle https://www.metmuseum.org/art/metpublications/The_Glory_of_Byzantium_Art_and_Culture_of_the_Middle_Byzantine_Era_AD_843_1261

Let’s try to answer some questions, so as to better understand the Stavelot Triptych in the Morgan Library…

Why is this amazing work of art named, the Stavelot Triptych? The Stavelot Triptych is a medieval Christian artwork currently housed in the Morgan Library & Museum in New York City. The name of the piece is derived from two key elements: the town of Stavelot and the art form of a triptych. Stavelot is a town in the Belgian Ardennes where the triptych was originally commissioned for the great imperial Benedictine Stavelot Abbey. This Benedictine monastery was an important religious center in the region, and the artwork was created to serve as a devotional object. The word “triptych” refers to the format of the artwork. A triptych is a three-paneled piece, typically hinged together, with a central panel and two side panels that can be folded inwards. These types of works were often used as altarpieces or portable religious objects in the medieval period.

What is so special about the Stavelot Triptych? This is a luxurious masterpiece of Western medieval art that consists of three triptychs, a greater Mosan triptych of gilded bronze decorated with champlevé enamels, and two Byzantine smaller triptychs, attached in the central panel, decorated with cloisonné enamels. The triptych was created as a reliquary of the True Cross, as it includes fragments of the True Cross. The two Byzantine triptychs and the relics were probably a gift of the Byzantine Emperor Manuel I Komnenos, to Abbot Wibald during the winter of 1155-1156, when Wibald, on a diplomatic mission to Constantinople, acted on behalf of the Holy Roman Emperor Frederick I Barbarossa. The Stavelot Triptych represents a harmonious blend of various artistic styles and techniques, such as Romanesque, Mosan, and Byzantine. This synthesis showcases the cultural exchange and artistic interactions that took place during the Romanesque period, making the triptych a valuable example of the transmission of ideas and skills across different regions.

What is the Date of the Stavelot Triptych? According to the Morgan Library and Museum experts… the Reliquary in the Morgan Library comprises of three Triptychs. The two small ones in the center are Byzantine and date from the late 11th or early 12th century. The larger Triptych which houses the two Byzantine works is Mosan and dates circa 1156-1158. http://corsair.themorgan.org/vwebv/holdingsInfo?bibId=93248

What is the iconographic program of the Stavelot Triptych? Paraphrasing the Morgan Library presentation… The central panel of the Stavelot Triptych contains two Byzantine triptychs decorated with cloisonné enamels. The upper triptych depicts the Annunciation (presented in the outer wings) and the Crucifixion with Mary and John the Evangelist flanking the Cross in the central panel. The lower, larger, triptych depicts the four Evangelists (in the outer wings), four Byzantine military saints (inner sides of the wings – George and Procopius on the left, Theodore and Demetrius on the right), and Constantine and Helena flanking the relics of the True Cross in the central panel beneath busts of the Archangels Gabriel and Michael.

**Stavelot Triptych (Detail),** ca. 1156-1158, Wood; copper-gilt frames, silver pearls and columns, gilt-brass capitals and bases, vernis brun domes, semi-precious stones, intaglio gems, beads, champlevé, and cloisonné enamels, Wings open: height: 484 mm, width: 660 mm, The Morgan Library and Museum, NY, USA https://www.kornbluthphoto.com/images/StavelotTript_20-2-1.jpg

The inner sides of the Romanesque Stavelot Triptych wings contain six champlevé enamel medallions (three in each wing) narrating the legend of the True Cross. The left-wing medallions tell the story of Constantine’s conversion to Christianity. Starting with Constantine’s dream of the Cross, the night before the Battle of the Milvian Bridge, the middle medallion shows Constantine’s victory at the Milvian Bridge, and the upper medallion shows Constantine being baptized just before his death, by Pope Sylvester I. The three medallions on the right wing tell the story of Saint Helena’s discovery of the True Cross. Starting with the bottom medallion, Helena is depicted questioning Jewish leaders. The narration continues with the middle medallion showing Helena watching as servants dig up the Cross on Mount Calvary, and culminates with the upper medallion, and Helena is testing the three crosses on a sick man to find the one True Cross that has the healing powers. http://corsair.themorgan.org/vwebv/holdingsInfo?bibId=93248

In summary, the Stavelot Triptych is important in art history due to its synthesis of various artistic styles, exceptional craftsmanship, religious significance, and its role in the preservation of medieval art. It provides insight into the artistic and cultural landscape of the 12th century and serves as a testament to the skill and creativity of the artists who produced it.

For a Student Activity on the Stavelot Triptych in the Morgan Library, please… Check HERE!

Élisabeth Louise Vigée Le Brun with Her Daughter Julie

May 13, 2023

by admin 18th century Art Art French Art Rococo Student Activities Worksheets

**Élisabeth Louise Vigée Le Brun**, French Artist, 1755–1842
**Self-portrait with Her Daughter, Julie,** 1786, oil on panel, 105 × 84 cm, the Louvre, Paris, France https://histoire-image.org/etudes/nouveau-visage-amour-maternel
**Self-Portrait with Her Daughter, Julie (à l’Antique),** 1789, oil on canvas, 130×94 cm, the Louvre Museum, Paris France https://commons.wikimedia.org/wiki/File:Self-portrait_with_Her_Daughter_by_Elisabeth-Louise_Vig%C3%A9e_Le_Brun.jpg

Sonnet IV by Victorian Poet Augusta Davies Webster, the Victorian Poet, reads… ‘Tis but a child. The quiet Juno gaze / Breaks at a trifle into mirth and glow, / Changed as a folded bud bursts into blow, / And she springs, buoyant, on some busy craze, / Or, in the rhythm of her girlish plays, / Like light upon swift waves floats to and fro, / And, whatsoe’er’s her mirth, needs me to know, And keeps me young by her young innocent ways. / Just now she and her kitten raced and sprang / To catch the daisy ball she tossed about; / Then they grew grave, and found a shady tree, / And kitty tried to see the notes she sang: / Now she flies hitherward–“Mother! Quick! Come see! / Two hyacinths in my garden almost out!” Presenting two paintings of Élisabeth Louise Vigée Le Brun with Her Daughter, Julie is my humble contribution to May 14, and Mother’s Day! https://allpoetry.com/Mother-and-Daughter–Sonnet-Sequence

Élisabeth Louise Vigée Le Brun (1755-1842) was a French portrait painter who became one of the most celebrated artists of her time. Born in Paris, she was the daughter of a painter, Louis Vigée, and began studying art at a young age. She showed a remarkable talent for portraiture, and by the age of fifteen, she was supporting herself and her family through her art. In 1776, Vigée Le Brun married a wealthy art dealer named Jean-Baptiste-Pierre Le Brun, which helped to expand her social and professional networks. She soon became a favorite painter of the French aristocracy, including Queen Marie Antoinette, whom she painted numerous times.

During the French Revolution, Vigée Le Brun fled France due to her close association with the royal court. She spent several years traveling throughout Europe, painting portraits of various members of the nobility and aristocracy. She eventually settled in Russia, where she became a favorite painter of Catherine the Great. After the fall of Napoleon and the restoration of the French monarchy, Vigée Le Brun was able to return to France. She continued to paint portraits and exhibited her work regularly at the Paris Salon. She was also an accomplished writer, publishing several memoirs that detailed her life and career.

Vigée Le Brun’s art is known for its refined elegance and sensitivity to the individual character of her subjects. She painted many of the leading figures of her time, including royalty, politicians, and artists, and her work is now housed in museums and collections around the world. She was a pioneer for women in the male-dominated world of art, and her legacy as a ground-breaking female artist continues to inspire generations of artists today.

**Élisabeth Louise Vigée Le Brun**, French Artist, 1755–1842
**Self-portrait with Her Daughter, Julie (detail),** 1786, oil on panel, 105 × 84 cm, the Louvre, Paris, France
https://www.facebook.com/museedulouvre/photos/naissance-de-%C3%A9lisabeth-louise-vig%C3%A9e-le-brun-birth-of-%C3%A9lisabeth-louise-vig%C3%A9e-le-b/10154657162619926/

In 1786, Élisabeth Louise Vigée Le Brun painted her first Self-Portrait with her daughter Jeanne Julie Louise, whom she called Julie, and caused a scandal! She presented herself holding her child most affectionately, looking straight to the viewer and smiling with her lips parted and her teeth showing. The 1787 gossip sheet ‘Mémoires secrets’ wrote… An affectation which artists, art-lovers and persons of taste have been united in condemning, and which finds no precedent among the Ancients, is that in smiling, [Madame Vigée-Lebrun] shows her teeth. Yet, Count of Angiviller, director general of the King’s Buildings, liked her Self-Portrait, as exhibited in the Salon of 1787, and requested that the artist paint a second version of the same subject. In 1789, Élisabeth Louise Vigée Le Brun complied and presented Self-Portrait with Her Daughter, Julie (à l’Antique). https://histoire-image.org/etudes/nouveau-visage-amour-maternel

**Élisabeth Louise Vigée Le Brun**, 1755–1842
**Self-Portrait with Her Daughter, Julie (à l’Antique),** 1789, oil on canvas, 130×94 cm, the Louvre Museum, Paris France https://commons.wikimedia.org/wiki/File:Self-portrait_with_Her_Daughter_by_Elisabeth-Louise_Vig%C3%A9e_Le_Brun.jpg

Both paintings by Vigée Le Brun are beautiful examples of the artist’s work and a significant representation of the Late Rococo Style. The paintings are notable for their emotional depth and the strong depicted bond between mother and child. They are a testament to the artist’s skill and her ability to capture the essence of her subject in a way that is both truthful and beautiful.

For a Student Activity, please… Check HERE!

Giorgone’s Madonna Cook

May 8, 2023

by admin 16th century Art Art Exhibitions High Renaissance Italian Renaissance Art Renaissance Renaissance Art Student Activities Worksheets

**Giorgone,** 1477/78 or 1473/74 – 1510
**Virgin and Child called Madonna Cook,** circa 1500, oil on wood, 68 x 48,1 cm, private collection on deposit at the Gemäldegalerie, Berlin, Germany https://www.musee-jacquemart-andre.com/en/giovanni-bellini

While in Paris, visiting the Exhibition GIOVANNI BELLINI Influences croisées (March 3 to July 17, 2023) at the Jacquemart-André Museum, I came upon a painting, Giorgone’s Madonna Cook, I did not know. The painting made an entirely unexpected impression on me. It is part of a private collection, on deposit at the Gemäldegalerie, in Berlin, and however hard I searched (on the Internet), little did I find. https://www.musee-jacquemart-andre.com/en/giovanni-bellini

Giorgio Barbarelli, universally known as Giorgione (Castelfranco Veneto, 1478-Venezia, 1510), is one of the most enigmatic painters of the Renaissance. Very little is known about Giorgione’s early life and training, but he is believed to have studied, along with Titian, with the Venetian painter Giovanni Bellini, who was a prominent figure in the Renaissance art scene. Unfortunately, Giorgione’s life and career were cut short by his premature death at the age of 33, probably from the plague. Despite his short career, he had a significant influence on the development of the Venetian school of painting, and his legacy continues to inspire and intrigue art lovers and scholars to this day.

A major innovator, Giorgione is acclaimed as the father of modern Venetian painting of the 16th century. As a student of Giovanni Bellini, Giorgione’s style in painting was characterized by his use of atmospheric effects, delicate modeling, and a subdued color palette. Influenced by Leonardo, the young Venetian artist is also known for his mastery of sfumato, a technique in which colours are blended together in such a way that they appear to merge seamlessly, creating a soft, hazy effect. Finally, paintings by Flemish artists motivated Giorgone to further explore the application of multiple thin layers of paint, so as to give a new dimension to light and colour. https://archive.org/details/giorgionemytheni0000unse/page/n3/mode/2up

What I find appealing is how Giorgone often painted landscapes or cityscapes as backdrops to his compositions, using them to create a sense of depth and space. The landscape scene in his Virgin and Child called Madonna Cook exhibited at the Jacquemart-André, caught my attention. It looks sparse and unfinished(?), yet a tower, a ‘leitmotiv’ in his landscape repertoire, is prominently displayed.

**The Tempest,** circa 1508, Gallerie dell’Accademia, Venice
**The Holy Family**, probably c. 1500, Samuel H. Kress Collection
**Castelfranco Madonna,** c. 1503/04, Duomo of Castelfranco, Veneto
**Adoration of the Shepherds,** c. 1500, NGA, Washington DC
**Virgin and Child called Madonna Cook,** circa 1500, Private Collection

Legend has it that Giorgone was not just a handsome, amorous man, and an innovative painter, but a talented musician who, as Vasari wrote, “sang divinely” and played the lute. He was also likely a large man, as Giorgione translates to “Big George.” For today’s BLOG POST allow me to quote and remember Giorgio Vasari who describes the life and artistic achievements of the famous Venetian. The first paragraph of Vasari’s presentation to Giorgione is a small compensation for the little information I can provide for the so-called Madonna Cook. https://www.artsy.net/article/artsy-editorial-four-paintings-renaissance-master-changed-course-art and http://www.travelingintuscany.com/art/gutenberg/vasarilives4.htm#Page_107

At the same time when Florence was acquiring such fame by reason of the works of Leonardo, no little adornment was conferred on Venice by the talent and excellence of one of her citizens, who surpassed by a great measure not only the Bellini, whom the Venetians held in such esteem, but also every other master who had painted up to that time in that city. This was Giorgio, who was born at Castelfranco in the territory of Treviso, in the year 1478, when the Doge was Giovanni Mozzenigo, brother of Doge Piero. In time, from the nature of his person and from the greatness of his mind, Giorgio came to be called Giorgione; and although he was born from very humble stock, nevertheless he was not otherwise than gentle and of good breeding throughout his whole life. He was brought up in Venice, and took unceasing delight in the joys of love; and the sound of the lute gave him marvellous pleasure, so that in his day he played and sang so divinely that he was often employed for that purpose at various musical assemblies and gatherings of noble persons. He studied drawing, and found it greatly to his taste; and in this nature favoured him so highly, that he, having become enamoured of her beauties, would never represent anything in his works without copying it from life; and so much was he her slave, imitating her continuously, that he acquired the name not only of having surpassed Giovanni and Gentile Bellini, but also of being the rival of the masters who were working in Tuscany and who were the creators of the modern manner. Giorgione had seen some things by the hand of Leonardo with a beautiful gradation of colours, and with extraordinary relief, effected, as has been related, by means of dark shadows; and this manner pleased him so much [Pg 110] that he was forever studying it as long as he lived, and in oil-painting he imitated it greatly. Taking pleasure in the delights of good work, he was ever selecting, for putting into his pictures, the greatest beauty and the greatest variety that he could find. And nature gave him a spirit so benign, and with this, both in oil-painting and in fresco, he made certain living forms and other things so soft, so well harmonized, and so well blended in the shadows, that many of the excellent masters of his time were forced to confess that he had been born to infuse spirit into figures and to counterfeit the freshness of living flesh better than any other painter, not only in Venice, but throughout the whole world… http://www.travelingintuscany.com/art/gutenberg/vasarilives4.htm#Page_107

For a Student Activity, inspired by Giorgone’s Madonna Cook, please… Check HERE!

Teacher Curator

Posts in category: Student Activities

The Fourth of July 1916

Fish and Waves by Louis Comfort Tiffany

Persephone as Isis and Hades as Sarapis

The Enameled Murano Beaker at Musée Jacquemart-André

Seascape Study with Rain Cloud by John Constable

Flaming June

Léon Bakst

The Stavelot Triptych in the Morgan Library

Élisabeth Louise Vigée Le Brun with Her Daughter Julie

Giorgone’s Madonna Cook