House of the Doves in Pompeii

by Ancient Roman VillasArtMosaicsRoman ArtStudent ActivitiesWorksheets
Mosaic Emblema with Doves on a Water Basin, 1st century BC, Room ‘n’ House of Doves in Pompeii (Region VIII, 2-34), now in Naples Archaeological Museum, Italy https://commons.wikimedia.org/wiki/Category:Doves_drinking_at_a_golden_basin,_mosaic_(from_Pompeii)#/media/File:Doves_at_a_Basin,_Mosaic.jpg

The dove, revered across cultures and religions, stands as a powerful symbol of Peace, Purity, and Hope. With its gentle demeanor and graceful flight, the dove has been a timeless emblem of tranquility and reconciliation. In various ancient mythologies, the dove has been linked to goddesses of love and fertility, like Inanna/Ishtar in Mesopotamia, or Aphrodite in Greece, adding a dimension of divine love to its symbolism. The dove’s appearance in the biblical story of Noah’s Ark further solidified its association with peace and new beginnings, as it returned to Noah carrying an olive branch, signaling the end of the flood. In Christianity, it gained prominence as a symbol of the Holy Spirit, often depicted during significant moments like the baptism of Jesus. Beyond religious contexts, the dove has become a universal icon for peace movements and humanitarian causes, transcending borders and languages to convey a shared aspiration for harmony in the world. As we usher in the New Year, let the beautiful mosaic of Doves in the House of the Doves in Pompeii serve as a heartfelt message for peace and prosperity in the coming year! May the spirit of these doves inspire moments of serenity and abundance in your life as we embark on this fresh journey together.

The House of the Doves (Casa delle Colombe or Casa di V. Popidius) is a captivating ancient Roman residence located in the archaeological site of Pompeii. Situated in the southwestern part of the city (Regio VIII, 2-34), this well-preserved house offers a glimpse into the lifestyle of the Pompeian elite during the first century AD. The house derives its name from a stunning mosaic that adorns one of its rooms (Room ‘n’ in Plan), featuring six Doves in various poses, around a water basin. Its layout is typical of Roman homes, with a central atrium surrounded by rooms adorned with frescoes, mosaics, and other ornate decorations. The architectural and artistic elements found within the house provide valuable insights into the aesthetics and daily life of Pompeii’s ancient inhabitants, making it a fascinating destination for archaeologists, historians, and visitors alike.

The intricate Mosaic Emblema featuring three doves perched on the rim of a golden water basin supported by lion’s feet, with a fourth dove gracefully descending and two more resting on the shelf below, is just one among the numerous exquisite details that distinguish this particular residence. Unearthed during the March 1885 excavation season in Room ‘n,’ an oecus or triclinium located in the southeast corner of the house’s atrium, the impressive mosaic is currently on display at the Naples Archaeological Museum. https://mann-napoli.it/en/mosaici-2/

The room’s floor, hardly preserved today, was made of a white mosaic with small tesserae without any border. In the center, the Emblema with the Doves is believed to derive from a model by the famed mosaicist Sosus of Pergamon (εκ Περγάμου ψηφιδογράφος Σώσος), an artist discussed and much admired by Pliny the Elder.

Sosus of Pergamon, a renowned Hellenistic mosaicist, left an indelible mark on the ancient world with his extraordinary mosaic artworks. Pliny describes Hellenistic mosaic making and Sosus’s accomplishments as …Paved floors originated among the Greeks and were skilfully embellished with a kind of paintwork until this was superseded by mosaics. In this latter field the most famous exponent was Sosus, who at Pergamum created a greatly admired mosaic of a Dove… in the act of drinking, and throwing the shadow of its head upon the water; while other birds are to be seen sunning and pluming themselves, on the margin of a drinking-bowl. https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.02.0137%3Abook%3D36%3Achapter%3D60

While none of Sosus’s original works have withstood the test of time, his renown persists through the admiration of later artists and historians. His impact on the art of mosaic has created a lasting legacy, inspiring subsequent generations and enriching the intricate tapestry of Hellenistic artistic achievement. The question arises: is the Pompeiian Mosaic of Doves a reproduction of Sosus’s renowned Hellenistic mosaic? An affirmative response is quite likely.

Wishing you a joyous and fulfilling New Year filled with Harmony and Happiness!

Behold, I send you forth as sheep in the midst of wolves: be ye therefore wise as serpents, and harmless as doves (Matthew 10:16)… https://www.biblegateway.com/passage/?search=Matthew%2010%3A16&version=NIV

For a Student Activity, inspired by the beautiful mosaic of Doves in the House of the Doves in Pompeii, please… Check HERE!

A reference to the legendary Hellenistic Mosaicist Sosus (εκ Περγάμου ψηφιδογράφος Σώσος), can be accessed in a former Teacher Curator BLOG POST titled Heraklitos and the Asarotos Oikos Mosaic… https://www.teachercurator.com/art/heraklitos-and-the-asarotos-oikos-mosaic/

Michael Attaleiates’s Ring at Dumbarton Oaks

by ArtByzantine ArtByzantine JewelryByzantiumJewelryMedieval ArtSocial StudiesStudent ActivitiesWorksheets
Ring of Michael Attaleiates, before 1080, Enamel on Gold, 3 cm, Dumbarton Oaks, Washington, DC, USA http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222620%22&sort=0&page=10

Michael Attaleiates’s Ring at Dumbarton Oaks has an inscription on its hoop that reads… Bearer of God, help thy servant Michael Attaleiates… while the bezel of the ring displays the bust of the Virgin flanked by the abbreviation ‘Mother of God.’ Byzantine rings with the owner’s name are scarce, and a ring associated with such a distinguished citizen is exceptionally rare. It stands as an extraordinary treasure! http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222620%22&sort=0&page=10

In confronting this historical artifact, the initial question that arises relates to its owner, Michael Attaleiates. The key questions are: Who was he, and what attributes contributed to his recognition as a significant figure?

Michael Attaleiates was a Byzantine historian and government official who lived in the 11th century. He was likely born in Attaleia and relocated to Constantinople between 1030 and 1040 for legal studies. Upon his ‘graduation’ he entered the empire’s administration serving in the judiciary sector. Recognized for his judicial prowess, he received prestigious honors from the Byzantine Emperors and amassed substantial wealth through services in the empire’s administration.

In 1072, he compiled the Ponema Nomikon, a legal synopsis for Emperor Michael VII, based on the 9th-century Basilika. Around 1079/80, he penned The History, chronicling the Byzantine Empire from 1034 to 1079, showcasing valuable insights into the events and characters of his time, as well as the political, military, and social developments. His writings contribute significantly to our understanding of the political and cultural context of the Byzantine Empire during a critical period of its history. https://alexandria-publ.gr/shop/vios-ke-politia-enos-vizantinou-mandarinou/

Ring of Michael Attaleiates, before 1080, Enamel on Gold, 3 cm, Dumbarton Oaks, Washington, DC, USA https://twitter.com/Varangian_Tagma/status/1598350774496817152/photo/1
Ring of Michael Attaleiates, before 1080, Enamel on Gold, 3 cm, Dumbarton Oaks, Washington, DC, USA http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222620%22&sort=0&page=10

Back to Attaleiates’s ring, and according to Stephen Zwirn, retired Assistant Curator in the Byzantine Collection of Dumbarton Oaks as of 2012… the ring stands out for deviating from the typical cloisonné technique used in Byzantium, instead adopting the champlevé technique associated with medieval Western European production. This method involves carving a cavity into the background, filling it with enamel, and leaving raised lines to define the image, allowing for intricate details in the drapery folds and inscriptions. The ring is so well crafted, that there is no doubt that this technique had been fully mastered by a Byzantine artist. http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222620%22&sort=0&page=10

The second inquiry that arises concerns the acquisition history of the ring. According to Dumbarton Oaks records, on the 15th of August – a day Christians commemorate the feast of the Assumption of the Blessed Virgin Mary – the Dumbarton Oaks Research Library and Collection in Washington, DC, acquired Michael Attaleiates’s Ring from the Art Dealer Joseph Brummer. This prompts a dual question: Who was Joseph Brummer, and what distinguishes him as a noteworthy figure in the realm of art dealers?

Henri Rousseau, 1844 – 1910
Portrait of Joseph Brummer, 1909, Oil on Canvas, 115.9 × 88.3 cm, The National Gallery, London, UK https://www.nationalgallery.org.uk/paintings/henri-rousseau-portrait-of-joseph-brummer

Joseph Brummer was a prominent art dealer in the early to mid-20th century, known for his significant contributions to the art world. Born in 1883 in Hungary, Brummer, along with his brothers, Ernest and Imre, established the Brummer Gallery in Paris in 1905, later moving it to New York in 1914. The Brummer Gallery played a pivotal role in recognizing the artistic importance of Medieval Arts and unusually introducing them as if they were modernist artifacts. The Brummer Gallery was also famous for introducing European modern art to the United States, showcasing works by renowned artists such as Picasso, Modigliani, and Brancusi. Joseph Brummer was renowned for his discerning eye and deep knowledge of art, building a reputation as a tastemaker and a key figure in the art market during his time. His legacy lives on not only through the artworks he handled but also in the influence he had on shaping the appreciation of art in America. https://medievalartus.ace.fordham.edu/exhibits/show/josephbrummer/josephbrummer-essay

P4125 recto: Byzantine ring in heavy, massive gold, with Greek inscription all around and a seal on top, also in gold, with figure in champleve enamel; also inscription around ring, The MET: Thomas J. Watson Library Digital Collections – The Brummer Gallery Records, New York, USA https://libmma.contentdm.oclc.org/digital/collection/p16028coll9/id/29918/rec/17
P4125 verso: Byzantine ring in heavy, massive gold, with Greek inscription all around and a seal on top, also in gold, with figure in champleve enamel; also inscription around ring, The MET: Thomas J. Watson Library Digital Collections – The Brummer Gallery Records, New York, USA https://libmma.contentdm.oclc.org/digital/collection/p16028coll9/id/29917/rec/17

On the 15th of August 1947, Dumbarton Oaks Research Library and Collection purchased Attaleiates’s Gold Ring from Joseph Brummer. Searching MET’s Thomas J. Watson Library Digital Collections – The Brummer Gallery Records, I present you with both sides of the Ring’s Inventory Card, Numbered P4125!

For a Student Activity, titled Comparative Analysis of Champlevé and Cloisonné Enamel Techniques in Byzantine Art, please… Check HERE!

Sleeping Eros

by Ancient Greek ArtArtGreek ArtHellenistic ArtMythologySculptureStudent ActivitiesWorksheets
Bronze statue of Eros sleeping, 3rd–2nd century BC, Bronze, 41.9 × 35.6 × 85.2 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/254502

Attributed possibly to the archaic Greek poet Sappho, the following fragment of Greek lyric poetry is preserved by the Alexandrian Grammarian Hephaestion. It reminds me of Sleeping Eros, the beloved Hellenistic bronze statue displayed in the Metropolitan Museum of Art. The verses paint a vivid scene… The moon and the Pleiades have set, / it is midnight, / time is passing, / but I sleep alone. https://en.wikipedia.org/wiki/Midnight_poem

In Greek mythology, Eros, portrayed as the son of Aphrodite and Ares, is the god of love, desire, and attraction. Various myths and stories are associated with Eros, in which he played a prominent role in matters of love and relationships. Well-known stories involving Eros include the myths of Rhodopis and Euthynicus, Apollo and Daphne, and his own love story, the myth of Psyche—a mortal princess who became the object of his affection. All these stories explore themes of love, trust, and the trials involved in achieving fulfillment with Eros projected as a significant figure in Greek mythology.

Eros is often depicted in various poses and contexts in ancient art, usually as a mischievous and playful winged youth armed with a bow and arrows. The arrows are said to have the power to incite love or desire in those they pierce. The Sleeping Eros statue in the MET depicts, on the other hand, a young, winged infant Cupid in a relaxed, reclining position, emphasizing the peaceful and gentle aspects of the god of love.

Bronze statue of Eros sleeping, 3rd–2nd century BC, Bronze, 41.9 × 35.6 × 85.2 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/254502

In the realm of Hellenistic sculpture, the motif of the Sleeping Eros emerged as a captivating and symbolic representation, offering a glimpse into the nuanced artistic expressions of love and vulnerability during this period. The Hellenistic era, spanning from the death of Alexander the Great in 323 BCE to the establishment of the Roman Empire in 31 BCE, witnessed a remarkable evolution in art, marked by a departure from the rigid idealism of Classical Greece. Hellenistic period statues were known for their attention to detail, realistic anatomy, dynamic poses, naturalism in the composition, and the expression of strong emotionalism along with the introduction of the ‘genre’ and a shift in artistic sensibilities.

In the realm of Hellenistic art, ‘genre’ refers to the inclusion of everyday life scenes and common people as subjects in sculptures, paintings, and other artistic expressions. This departure from the rigid canons of Classical Greek art allowed artists to explore a wider range of emotions, experiences, and individual characteristics. The Sleeping Eros serves as a poignant manifestation of these transformations, capturing the subtleties of emotion and narrative in sculpture.

Bronze statue of Eros sleeping, 3rd–2nd century BC, Bronze, 41.9 × 35.6 × 85.2 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/254502

Eros is portrayed in a state of repose, inviting viewers into an intimate exploration of the deity’s more tender and human aspects. As we delve into the intricacies of the Sleeping Eros sculpture in the MET, we untangle not only the technical abilities of the Hellenistic artist who created it, but also the deeper cultural and philosophical underpinnings that inform this artistic motif. Through a lens of mythology, symbolism, and craftsmanship, the Sleeping Eros sculpture offer a captivating window into the Hellenistic worldview, where the divine and the mortal meet in a harmonious dance of form and emotion.

According to the MET experts, during the Hellenistic period… Young children enjoyed great favor, whether in mythological form, as baby Herakles or Eros, or in genre scenes, playing with each other or with pets. The MET Eros, the god of love, has been brought down to earth and disarmed, a conception considerably different from that of the powerful, often cruel, and capricious being so often addressed in Archaic poetry. One of the few bronze statues to have survived from antiquity, this figure of a plump baby in a relaxed pose conveys a sense of the immediacy and naturalistic detail that the medium of bronze made possible. He is clearly based on firsthand observation! https://www.metmuseum.org/art/collection/search/254502

For a Student Activity inspired by the MET Sleeping Eros, please… Check HERE!

Another aspect of Eros’s character and artistic representation is offered in Eros and the Bee, a February 2023 BLOG POST by Teacher Curator… https://www.teachercurator.com/art/eros-and-the-bee/

Corinthian Alabastron

by Ancient Greek ArtArtGreek ArtPotteryStudent ActivitiesWorksheets
Corinthian Alabastron, 600 BC, Orientalizing Period, Terracotta, black-figure, Height: 28,5 cm, Canellopoulos Museum, Athens, Greece https://camu.gr/item/korinthiako-alavastro/

The Paul and Alexandra Canellopoulos Museum in Athens, Greece, is a small treasure trove of outstanding antiquities, showcasing the Museum’s Ancient Art collection spanning from Prehistory to the Roman Era. The collection boasts objects dating back to the Neolithic period (6000-3200 BC), followed by representative examples from civilizations that thrived in the region during the Bronze Age (3000-1100 BC), the Early Iron Age (1100-88 BC), and the Archaic period (7th-6th century BC). Notably, the Archaic period exhibits Corinthian vases adorned with decorative motifs inspired by imaginary beings from the East, such as the Corinthian Arybalos, which I would like to present to you today!

So… Let’s explore the How of an amazing small masterpiece in the Canellopoulos Museum, in Athens… by answering some questions!

How can we best describe the characteristics of the Orientalizing period in ancient Greek Art?

The Orientalizing period in ancient Greek art refers to a significant phase that occurred during the 7th century BCE. It is characterized by a notable influence of artistic motifs and elements from the Near East and Egypt, which were collectively known as the “Orient” to the ancient Greeks. During this period, Greek city-states began to engage in increased trade and cultural contact with the civilizations of the Near East, such as Phoenicia, Assyria, and Egypt. As a result, Greek artists and craftsmen were exposed to new artistic styles, techniques, and iconography, which they integrated into their own artistic expressions.

A key characteristic of the Orientalizing period in ancient Greek art is the adoption of Eastern motifs that included animals like lions and sphinxes, as well as mythical creatures and floral patterns. Greeks, however, were always fond of expressing narrative in their vase painting and they appropriated Near Eastern creatures like the sphinx, for example, or the siren and altered their basic function by making them a part of a larger story. Orientalizing art may look Oriental on the surface but is still recognizably Greek below.

It is important to note that the Orientalizing period was not a homogenous style but rather a phase of artistic transition that laid the groundwork for the subsequent Archaic period. The influence of the Orient on Greek art gradually declined during the 6th century BCE as the Greek city-states developed their own distinctive artistic styles, leading to the flourishing of the Classical period of ancient Greek art. https://www.colorado.edu/classics/2018/06/15/orientalizing-period-ancient-greece

How can we best describe the characteristics of Pottery during the Orientalizing period in ancient Greek art?

During the Orientalizing period in ancient Greek art, pottery underwent significant changes in terms of style, decoration, and iconography. Vessels became more varied and sophisticated, with influences from Eastern pottery shapes and forms. For example, the aryballos (a small, globular-shaped container) and the alabastron (a slender, often pointed bottle) were popular shapes during this time. The period, which occurred from approximately the late 8th century BC to the early 6th century BC, was marked by the influence of Eastern motifs, like lions, sphinxes, and griffins, as well as floral and geometric patterns which became popular, along with the representation of human figures in a more lifelike manner.

How can we best describe the characteristics of Corinthian Pottery during the Orientalizing period in ancient Greek Art?

During the Orientalizing period in ancient Greek art, Corinthian pottery underwent a transformative shift from its earlier geometric style to a more figurative and narrative-focused approach. Influenced by artistic traditions from the Near East and Egypt, Corinthian potters embraced animal motifs, mythical creatures, and composite beings in dynamic poses. Corinthian vessels were adorned with intricate designs, covering the entire surface, exemplifying the abundance and opulence of this period. Utilizing the black-figure technique, they painted dark silhouettes against a yellowish-orange background, embellishing the scenes with incised lines to add detail. To fill empty spaces on these vases, palmettes and lotus blossoms were utilized in place of traditional geometric patterns, and in some cases, negative space gained more prominence.

How can we best describe the Corinthian Alabastron in the Canellopoulos Museum, in Athens?

The Canellopoulos Museum Alabastron from Corinth is typical of the Orientalizing period. This type of pottery, used for holding precious perfumed oils, originated around the 11th century BC in ancient Egypt, and spread via ancient Greece, to many parts of the Mediterranean world. Most Alabastra vases of the Orientalizing period have a narrow body with a rounded end, a narrow neck, and a broad mouth. Alabastra vases were often left without handles, but, for easy mobility, some types were equipped with one, or two, small projections into which holes were punched for strings to pass through, just like the Corinthian Alabastron in Athens.

According to Dr. Moschonesioti… The horizontal rim of the Canellopoulos Museum Alabastro is decorated with a tongue pattern and the vertical side of the rim with broken lines. The neck of the vase is decorated with a tongue pattern and the uppermost part of the vase with three parallel lines. Below them, two wide bands separate three decorative zones with (dancing?) komasts (mythological figures associated with God Dionysus) holding horns. Around the figures, which are presented dressed in purple, floral ornaments, such as large and small rosettes, heart-shaped leaves, and lotus flowers, densely cover the remaining surface of the vase. https://camu.gr/item/korinthiako-alavastro/

The Canellopoulos Museum Alabastro vase boasts an exquisite display of intricate decorations. From the tongue patterns adorning the horizontal and neck rims to the graceful lines and mythological figures of komasts, the artistry captivates the viewer’s eye, standing as a testament to the creativity and craftsmanship of its time.

For a Student Activity inspired by the Corinthian Alabastron in the Canellopoulos Museum, please… Check HERE!

The Choice of Heracles by Annibale Carracci

by 16th century ArtArtBaroqueMythologyStudent ActivitiesUncategorizedWorksheets
Annibale Carracci, 1560-1609
The Choice of Heracles, 1596, Oil on Canvas, 273 x 167 cm, Museo Nazionale di Capodimonte, Naples, Italy
https://el.m.wikipedia.org/wiki/%CE%91%CF%81%CF%87%CE%B5%CE%AF%CE%BF:Annibale_Carracci_-_The_Choice_of_Heracles_-_WGA4416.jpg

The Choice of Heracles by Annibale Carracci is probably loosely inspired by Philostratus’ Life of Apollonius of Tyana (6.10)… You have seen in picture-books the representation of Heracles by Prodicus; in it Heracles is represented as a youth, who has not yet chosen the life he will lead; and vice and virtue stand in each side of him plucking his garments and trying to draw him to themselves. Vice is adorned with gold and necklaces and with purple raiment, and her cheeks are painted and her hair delicately plaited and her eyes underlined with henna; and she also wears golden slippers, for she is pictured strutting about in these; but virtue in the picture resembles a woman worn out with toil, with a pinched look; and she has chosen for her adornment rough squalor, and she goes without shoes and in the plainest of raiment, and she would have appeared naked if she had not too much regard for her feminine decency. Interesting and revealing to say the least! The ancient Greek myth was invented by the sophist Prodico and perhaps suggested to Annibale Carracci by Fulvio Orsini, the librarian of the Farnese family. Interesting and revealing to say the least! https://www.livius.org/sources/content/philostratus-life-of-apollonius/philostratus-life-of-apollonius-6.6-10/

A young, thoughtful Heracles dominates the center of an extremely busy composition. He is depicted in heroic nudity, resting on his club contemplating… whether he will approach life by the path of virtue or the path of vice… And there, writes Xenophon,  appeared two women of great stature making towards him. https://www.perseus.tufts.edu/hopper/text?doc=Xen.%20Mem.%202.1&lang=original and https://cal.byu.edu/macfarlane/OGCMA/HeraclesChoice1.0019_Carracci.htm

A young, thoughtful Heracles dominates the center of an extremely busy composition. He is depicted in heroic nudity, resting on his club contemplating… whether he will approach life by the path of virtue or the path of vice… And there, writes Xenophon,  appeared two women of great stature making towards him. https://www.perseus.tufts.edu/hopper/text?doc=Xen.%20Mem.%202.1&lang=original and https://cal.byu.edu/macfarlane/OGCMA/HeraclesChoice1.0019_Carracci.htm

Annibale Carracci, 1560-1609
The Choice of Heracles, 1596, Oil on Canvas, 273 x 167 cm, Museo Nazionale di Capodimonte, Naples, Italy
https://artpaintingartist.org/the-choice-of-heracles-by-annibale-carracci/

On Heracles’s left side, Carracci presents a striking woman, the personification of Pleasure, standing in front of a lush landscape, green, luxuriant, and blossoming. She gestures to play cards, musical instruments, and theatrical masks. She entices him with her presence, the symbols of carnal pleasures, and her words… Heracles, I see that you are in doubt about which path to take toward life. Make me your friend; follow me, and I will lead you along the pleasantest and easiest road. You shall taste all the sweets of life; and hardship you shall never know. https://www.perseus.tufts.edu/hopper/text?doc=Xen.%20Mem.%202.1&lang=original

On Heracles’s right side, Carracci painted the personification of Virtue, who according to Xenophon, addressed young Heracles in an exemplary way… I, too, am come to you, Heracles: I know your parents and I have taken note of your character during the time of your education. Therefore I hope that, if you take the road that leads to me, you will turn out a right good doer of high and noble deeds, and I shall be yet more highly honoured and more illustrious for the blessings I bestow. But I will not deceive you by a pleasant prelude: I will rather tell you truly the things that are, as the gods have ordained them. [28] For of all things good and fair, the gods give nothing to man without toil and effort. If you want the favour of the gods, you must worship the gods: if you desire the love of friends, you must do good to your friends: if you covet honour from a city, you must aid that city: if you are fain to win the admiration of all Hellas for virtue, you must strive to do good to Hellas: if you want land to yield you fruits in abundance, you must cultivate that land: if you are resolved to get wealth from flocks, you must care for those flocks: if you essay to grow great through war and want power to liberate your friends and subdue your foes, you must learn the arts of war from those who know them and must practice their right use: and if you want your body to be strong, you must accustom your body to be the servant of your mind, and train it with toil and sweat.’ [29]

Carracci’s personification of Virtue is presented as a young, unpretentious woman, dressed in blue and red. She stands in front of an arid landscape, and points at the winding road up a mountain plateau, where the winged Pegasus, emblem of the Farnese family, awaits Heracles to guide him to Mount Olympus. A life of Virtue, however, does not come without fame and distinction. In the lower-left corner, Carracci painted a poet crowned in laurels looking up to Virtue and Heracles, ready to immortalize the Hero’s accomplishments and assure him great renown.

Annibale Carracci, 1560-1609
Camerino Farnese (the ceiling), 1596, 4.8×9.4m, Private Room of Cardinal Oduardo Farnese. Palazzo Farnese, Rome, Italy
https://it.ambafrance.org/Camerino-d-Ercole

The Choice of Heracles by Annibale Carracci once graced the center of the ceiling in a small room known as the Camerino di Ercole in the Farnese Palace in Rome. The room’s iconography was determined by the palace’s librarian, Fulvio Orsini, who knew the fifth-century Ancient Greek parable involving Hercules… Cardinal Odoardo Farnese selected Annibale to execute the Camerino’s decor, which the artist completed between 1595–97. In 1662  the Carracci’s canvas was replaced by a copy, still in place, underwent various movements, and then became part of the “Cabinet of obscene paintings” of the Royal Bourbon Museum. Today, it is exhibited in Museo Nazionale di Capodimonte, Naples, Italy. https://artsandculture.google.com/asset/hercules-at-the-crossroads-annibale-carracci/EwGkF5dbmWVeHw and https://capodimonte.cultura.gov.it/oggi-e-il-compleanno-di-annibale-carracci/

For a Student Activity inspired by Annibale Carracci’s The Choice of Heracles, please… Check HERE!

The Monument of Episkopi on Sikinos

by ArtByzantine ArtByzantine Church ArchitectureByzantiumCycladic ArtRoman ArtStudent ActivitiesWorksheets
The Monument of Episkopi on Sikinos
https://www.europeanheritageawards.eu/winners/monument-of-episkopi/

The Monument of Episkopi on Sikinos, one of the smallest Cycladic islands, is a Roman mausoleum dating back to the 3rd century. Because of its conversion to a Byzantine church, it was continuously used and has therefore survived nearly intact. Its ancient structure, combined with interventions from several historical periods, offers an incomparable palimpsest of archaeological periods that is rarely preserved in ancient monuments. Severely affected by destructive earthquakes and human interventions throughout the centuries, the monument was abandoned in the 20th century. The Ephorate of Antiquities of the Cyclades decided to restore the building in 2016. In 2022 the monument, fully restored and fully studied by the scientific personnel of the Cyclades Ephorate of Antiquities, reopened to the public. https://www.europeanheritageawards.eu/winners/monument-of-episkopi/

How can we introduce the Island of Sikinos? Sikinos is a tiny and rocky island with few permanent inhabitants, located in the Cyclades, between the islands of Ios and Folegandros. It has an area of approximately 42 square kilometers and a population of around 300 people. It is a quiet and peaceful island with a traditional way of life. The main village, called Chora, is built on a hill and has narrow streets, white-washed houses, and stunning views of the Aegean Sea. Other villages on the island include Alopronia, a small fishing village with a sandy beach, and Episkopi, where the historic Episkopi Church is located.

Is the Island of Sikinos related to any Greek Myth? According to Greek Mythology, the island of Sikinos is named after the son of Thoas, King of Lemnos, and son of God Dionysos and Princess Ariadne. Ypsipyli, Thoa’s daughter, trying to save her father from the Lemnian women who were killing the male inhabitants of the island, hid him in a wooden box and threw him into the sea. The waves of the sea led Thoa’s box to the island of Oinoe, where the king married the nymph Niida, who gave birth to a boy called Sikinos. It was Thoa’s son and grandson of Dionysos and Ariadne, who gave his name to the island during his reign.

The History of the Island: The island has a long and fascinating history, dating back to ancient times when the island was known for its vineyards and wine production. The island was also known as an important religious center, with a temple dedicated to Apollo the Pythian located on the island’s highest peak. Sikinos’s history parallels that of the other Cyclades islands, passing from Roman to Byzantine rule, and then falling to the Venetians and the Ottomans.

In the 13th century AD, Sikinos was conquered by the Venetians, who built a fortress on the island to protect it from pirates and other invaders. During this time, the island became an important center for trade and commerce, and its wine was exported throughout the Mediterranean. In the 16th century, Sikinos was occupied by the Ottoman Turks, who ruled the island for nearly 300 years. During this time, the island’s population declined, and many Sikinians migrated to other parts of Greece and to other countries. In the early 19th century, Sikinos became part of the newly formed Greek state, and the island began to experience a period of growth and prosperity. The island’s vineyards were revived, and Sikinos once again became an important center for wine production. https://sikinostravel.com/sikinos-island/history/

The Monument of Episkopi on Sikinos
https://www.europeanheritageawards.eu/winners/monument-of-episkopi/

Which is the most important monument on the Island of Sikinos? Undauntedly Episkopi, or the monument of the Diocese of Sikinos. According to Dr Dimitrios Athanasoulis, Director of the Ephorate of Antiquities of the Cyclades… The monument of the Diocese of Sikinos, one of the smaller islands of the Cyclades, was, originally, a Roman period mausoleum, built during the 3rd century AD. The mausoleum became a Byzantine church, and subsequently, an important landmark of cultural heritage for the island community throughout the centuries. https://www.lifo.gr/now/entertainment/episkopi-sikinoy-ena-monadiko-mnimeio-apodidetai-simera-sto-koino

What new archaeological information did the restoration of Episkopi bring to light? The archaeological research that took place during the restoration of the monument, Dr Dimitrios Athanasoulis said, enriched our knowledge of the funerary monuments of the Roman period in the Eastern Mediterranean region, as well as of Byzantine church building in the Cyclades. During the restoration work of Episkopi, valuable evidence of the past was revealed, such as inscriptions and fragments of Roman and Byzantine frescoes, for the preservation of which a microclimate monitoring system was installed. The most important find was the hermetically sealed, undisturbed burial of a woman of the upper class, named “Neiko”, with findings that betrayed superstitions and necrophobic notions. https://www.lifo.gr/now/entertainment/episkopi-sikinoy-ena-monadiko-mnimeio-apodidetai-simera-sto-koino

Why was the monument of Episkopi on Sikinos bestowed the Europa Nostra Award in 2022? The monument of Episkopi is a cultural landmark and a source of pride for this small island community. Building materials were reused as much as possible and new masonry was incorporated using locally collected stones. The combination of architectural elements of a Roman mausoleum in a Byzantine church forms a unique monument that is simply striking… emphasized by the Awards’ Jury. https://www.europeanheritageawards.eu/winners/monument-of-episkopi/

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The Hours of Jeanne d’Evreux Queen of France

by 14th century ArtArtFrench ArtInternational Gothic ArtStudent ActivitiesWorksheets
Jean Pucelle, French, active Paris, 1319–34
The Hours of Jeanne d’Evreux, Queen of France, Folios 9v-10r, Calendar Pages for September, ca. 1324-28, Grisaille, tempera, and ink on vellum, Single folio: 9.2 x 6.2 cm, the MET, NY, USA Jean Pucelle | The Hours of Jeanne d’Evreux, Queen of France | French | The Metropolitan Museum of Art (metmuseum.org)

The Hours of Jeanne d’Evreux, Queen of France, is a famous medieval illuminated manuscript created around the year 1324-1328. Currently housed in the collection of the Metropolitan Museum of Art in New York City, on display at the Cloisters, the manuscript is considered one of the most exquisite examples of Late Gothic manuscript illumination. It was probably commissioned for Jeanne d’Evreux, by her husband, King Charles IV of France, between the date of their marriage in 1325 and his death three years later.

At first glance, this tiny prayer book, the size of each vellum folio is 9.2 x 6.2 cm, with not a trace of gold, might seem an unlikely possession for a queen of France. The Hours of Jeanne d’Evreux, however, offers much more than meets the eye. This manuscript consists of 209 folios, containing not only twenty-five full-page paintings featuring depictions of significant moments from the Infancy and Passion of Christ, but also scenes portraying the life of Saint Louis, a notable ancestor of Queen Jeanne. Additionally, the margins of the manuscript are adorned with an astonishing array of nearly 700 illustrations. These illustrations vividly portray a diverse tapestry of medieval Parisian society, including bishops, beggars, street dancers, maidens, and musicians. Furthermore, interspersed among these depictions are whimsical creatures from the realm of pure fantasy, such as apes, rabbits, dogs, and other enigmatic beings. The combination of meticulously crafted religious imagery and glimpses into the vibrant urban life of medieval Paris makes The Hours of Jeanne d’Evreux an extraordinary testament to the artistic and cultural milieu of the time. https://www.metmuseum.org/art/collection/search/470309

Diminutive in size, the Hours of Jeanne d’Evreux was made between 1324 and 1328 https://www.facsimilefinder.com/facsimiles/hours-jeanne-evreux-facsimile
Jean Pucelle, French, active Paris, 1319–34
The Hours of Jeanne d’Evreux, Queen of France, Folios 15v-16r, The Betrayal of Christ and The Annunciation to Mary, 1324-28, Grisaille, tempera, and ink on vellum, Single folio: 9.2 x 6.2 cm, the MET, NY, USA https://commons.wikimedia.org/wiki/File:4_Jean_Pucelle._Hours_of_Jeanne_d%27Evreux._1325-28,_Metropolitan_Museum,_New-York.jpg

While there is no positive proof establishing the identity of the artist behind the Cloisters manuscript, three extraordinary documents, Jeanne d’Evreux’s will, King Charles V’s inventory of treasures, and the successive 1401 and 1406 inventories of the collection of Jean, Duc de Berry, led scholars to accept Jean Pucelle as the artistic genius behind the manuscript’s illuminations.

Jean Pucelle was a fine Parisian manuscript illuminator of impeccable taste and refined elegance. He was a great innovator, introducing the art of Giotto and Ducio to Northern Europe. He had the ability to present sculpturally modeled figures, capture psychological expressions, and convey human emotions. Finally, Pucelle was the artist who presented ideas such as the use of naturalistic settings and narrative continuity within his miniatures.

His name became synonymous with exceptional craftsmanship and artistic excellence, but much of his life remains shrouded in mystery. However, his surviving works serve as a testament to his profound impact on the art of illumination during the medieval period, earning him a well-deserved place among the great masters of the era.

The illuminated manuscript of Jeanne d’Evreux in the Cloisters is a Book of Hours, that is, a devotional and instructional book that was popular in Western Europe during the Middle Ages. It was primarily used by laypeople, particularly wealthy individuals, for personal prayer and devotion. It was essentially a private prayer book, containing a collection of prayers, psalms, hymns, and other religious texts, often accompanied by illustrations. It was called a “Book of Hours” because it typically included a series of prayers that were meant to be recited at specific times throughout the day, corresponding to the canonical hours of the liturgical day.

The book usually began with a calendar, which listed important feast days and saints’ days. It would then include various sections, such as the Hours of the Virgin Mary, the Office of the Dead, and other prayers dedicated to specific saints or events. Each section would contain specific prayers, psalms, and readings associated with the particular devotion.

The decoration for the Calendar page in Books of Hours can vary depending on the specific manuscript and the artistic style of the time. For The Hours of Jeanne d’Evreux, Pucelle employed scenes depicting the agricultural activities commonly carried out each month of the year, such as plowing, sowing seeds, or tending to crops, along with scenes of the countryside, fields, or farms. For the Month of September, the artist chose to depict the labor of harvesting or tending to the vineyards. Pucelle’s page shows workers engaged in grape harvesting and winemaking activities, such as picking grapes, stomping on them, and hungrily tasting the fruits of their labour.

Jean Pucelle, French, active Paris, 1319–34
The Hours of Jeanne d’Evreux, Queen of France, Folios 9v-10r (detail), Calendar Pages for September, ca. 1324-28, Grisaille, tempera, and ink on vellum, Single folio: 9.2 x 6.2 cm, the MET, NY, USA Jean Pucelle | The Hours of Jeanne d’Evreux, Queen of France | French | The Metropolitan Museum of Art (metmuseum.org)

What I like most is how the illuminations created for the Hours of Jeanne d’Evreux employ a diverse range of artistic techniques. One of them is the grisaille technique, described as de blanc et noir in French, which involves using shades of gray created through hatching and cross-hatching. Grisaille, however, is not enough for Jean Pucelle. He wants to introduce vibrant colours, so along with grisaille, he adds tempera paints as well. The combination of these two techniques, known as “camaïeu gris,” results in a harmonious interplay of grayscale and color. The application of grisaille and the skillful use of tempera bring forth a visually captivating effect, enhancing the overall aesthetic appeal of the manuscript.

Overall, the Hours of Jeanne d’Evreux is not only a masterpiece of medieval art, characterized by its elegant figures, attention to detail, and a fusion of naturalistic and stylized elements. It is a valuable historical artifact as well, providing insight into the artistic, cultural, and religious practices of the French royal court during the 14th century.

Its delicate illuminations and meticulous craftsmanship make it a treasured example of medieval book art, and it continues to inspire and captivate viewers to this day.

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Warhol by Basquiat Basquiat by Warhol

by 20th century ArtAmerican ArtArtStudent ActivitiesWorksheets
Jean-Michel Basquiat, American Artist, 1960-1988
Dos Cabezas, October 4, 1962, acrylic and oil stick piece created on canvas and mounted on wood supports, 151.8  × 154 cm, Private Collection
Andy Warhol, American Artist, 1928-1987
Self-Portrait with Jean-Michel Basquiat, October 4, 1962, Polaroid, Collection Bischofberger, Männedor-Zurich, Switzerland
(Photos: Amalia Spiliakou, May of 2023, Exhibition Basquiat × Warhol. À Quatre Mains, Fondation Louis Vuitton)

On the 8th of May, while in Paris, I visited the Exhibition Basquiat × Warhol. À Quatre Mains (From 05.04.2023 to 28.08.2023) at Fondation Louis Vuitton. Two Portraits of the famous duo, the first a Polaroid Photo of the two artists by Andy Warhol, the other, a painted version of the Warhol Polaroid by Basquiat, were the first steps taken towards an artistic collaboration that started on the 4th of October 1982 and resulted in about 160 paintings. My new BLOG POST titled Warhol by Basquiat Basquiat by Warhol will present you with the first impressions of the legendary first meeting of the two artists, organized by Swiss Gallery owner Bruno Bischofberger, as documented by the protagonists.

At Fondation Louis Vuitton for the Basquiat x Warhol, À Quatre Mains Exhibition… (Photo Credit: Katerina Floran-Ioannou)

Down to meet Bruno Bischofberger (cab $7.50). He brought Jean-Michel Basquiat with him. He’s the kid who used the name ‘Samo’ when he used to sit on the sidewalk in Greenwich Village and paint T-shirts, and I’d give him $10 here and there and send him up to Serendipity to try to sell the T-shirts there. He was just one of those kids who drove me crazy… And so had lunch for them and then I took a Polaroid and he went home and within two hours a painting was back, still wet, of him and me together. And I mean, just getting to Christie Street must have taken an hour” (A. Warhol, ‘October 4, 1982″, The Andy Warhol Diaries, ed. P. Hackett, New York, 1989, p. 462).… Warhol wrote in his Diary.

Andy Warhol’s diary entry provides a glimpse into his interaction with Jean-Michel Basquiat, highlighting the first dynamics of their relationship and capturing the essence of their future artistic connection. Warhol’s introduction to the meeting sets the tone for the casual and straightforward nature of the rest of the entry. Jean-Michel Basquiat, mentioned as the kid who used the name ‘Samo’  is significant. The reference to Warhol providing Basquiat with occasional financial support and sending him to sell his T-shirts at Serendipity adds a layer of mentorship or support that Warhol extended to the young artist. Warhol’s remark about Basquiat driving him crazy, however, hints at the upcoming complexities of their relationship. It suggests that Basquiat may have been a somewhat challenging individual to handle, but it’s also possible that Warhol found him intriguing or enigmatic in some way. The diary entry captures a sense of Warhol’s enduring fascination with unique and unconventional characters.

Andy Warhol, American Artist, 1928-1987
Self-Portrait with Jean-Michel Basquiat, October 4, 1962, Polaroid, Collection Bischofberger, Männedor-Zurich, Switzerland (Photo: Amalia Spiliakou, May of 2023, Fondation Louis Vuitton)
Jean-Michel Basquiat, American Artist, 1960-1988
Dos Cabezas, October 4, 1962, acrylic and oil stick piece created on canvas and mounted on wood supports, 151.8  × 154 cm, Private Collection (Photo: Amalia Spiliakou, May of 2023, Fondation Louis Vuitton)

The mention of lunch together highlights the casual nature of their encounter. It’s noteworthy that Warhol took a Polaroid photograph of himself and Basquiat, capturing the moment of their meeting. The fact that Basquiat promptly painted a portrait of both of them, which Warhol describes as still wet, demonstrates Basquiat’s creative energy and immediate response to the encounter.

Overall, Andy Warhol’s diary entry provides a glimpse into his interaction with Jean-Michel Basquiat, highlighting the dynamics of their relationship and capturing the essence of their artistic connection. It showcases Warhol’s role as a mentor and the impact he had on Basquiat’s early career, while also revealing the complexities and idiosyncrasies of their shared artistic world.

Responsible for organizing the meeting between the two artists was Bruno Bischofberger, the Swiss gallery owner, who, at the time, represented both Andy Warhol and Jean-Michel Basquiat. His recollection of the Warhol-Basquiat first meeting expands upon the diary entry by providing additional details and emphasizing the creative exchange between the two artists. It portrays a sense of mutual artistic admiration and the vibrant energy that surrounded their interaction, further enriching our understanding of this significant moment in art history.

Warhol photographed Basquiat with his special Polaroid portrait camera. Jean-Michel asked Warhol whether he could also take a photo of him, took some shots, and then asked me to take some photos of him and Warhol together. We then wanted to go next door to have the customary cold buffet lunch. Basquiat did not want to stay and said goodbye. We had hardly finished lunch, one, at most one and half an hour later, when Basquiat’s assistant appeared with a 150 x 150 cm (60″ x 60″) work on canvas, still completely wet, a double portrait depicting Warhol and Basquiat: Andy on the left in his typical pose resting his chin on his hand, and Basquiat on the right with the wild hair that he had at the time. The painting was titled Dos Cabezas. The assistant had run the ten to fifteen blocks from Basquiat’s studio on Crosby Street to the Factory on Union Square with the painting in his hands because it wouldn’t fit into a taxi. This is how Bischofberger, who facilitated the meeting, recalled the events that led to the famous artworks!

For a Student Activity, please… Check HERE!

Valuable Information for my BLOG POST came from… https://www.christies.com/lot/lot-5371726/?intObjectID=5371726

For Information and two short Videos on the Exhibition at Fondation Louis Vuitton, please… Check… Basquiat × Warhol. Painting four hands (fondationlouisvuitton.fr)

Madre della Consolazione

by ArtByzantine ArtByzantiumPost-ByzantineStudent ActivitiesWorksheets
Madre della Consolazione,15th century, tempera on wood, 0.563×0.45 m, Canellopoulos Museum, Athens, Greece https://camu.gr/en/item/panagia-madre-della-consolazione/

Given this state of affairs and stepping out as though on the royal highway, following as we are the God-spoken teaching of our holy fathers and the tradition of the catholic church – for we recognize that this tradition comes from the Holy Spirit who dwells in her – we decree with full precision and care that, like the figure of the honoured and life-giving cross, the revered and holy images, whether painted or made of mosaic or of other suitable material, are to be exposed in the holy churches of God, on sacred instruments and vestments, on walls and panels, in houses and by public ways, these are the images of our Lord, God and saviour, Jesus Christ, and of our Lady without blemish, the holy God-bearer, and of the revered angels and of any of the saintly holy men. This is how the Council of Nicaea II, in 787 AD described the Restoration of the Holy Icons. The Madre della Consolazione Icon in the Canellopoulos Museum of our Lady without blemish, and the infant God and saviour, Jesus Christ, is a wonderful example of this declaration… https://www.papalencyclicals.net/councils/ecum07.htm

Paul and Alexandra Canellopoulos Museum in Athens has an important collection of Byzantine and post-Byzantine artworks dating from the formative years of the Byzantine era (4th-7th century AD) to the post-Byzantine and Modern periods (1453-1821). The Museum’s collection includes paintings, miniatures, gold and silverwork, wood carvings, and embroidery, as well as jewelry, coins, mosaics, wall paintings, and Patriarchal documents spanning from the 18th and the 19th centuries to the flourishing icon-painting workshops of Mount Athos. Worth noting is that the artwork in the Collection reveals diverse cultural influences that make up the breadth of Byzantine art, resulting in exceptional elegance and originality. https://camu.gr/en/art/byzantine-art/

Going through the Museum’s Collection of Icons I was impressed by the represented high-quality examples of Constantinopolitan, Macedonian, and Cretan styles of Byzantine painting. Particularly impressive is the group of Icons that represents the Post-Byzantine Cretan School. According to the Museum’s experts… almost all the great hagiographers of the Cretan School from the years after the Fall of Constantinople are represented in the Museum, including Nicolaos Tzafouris, Michael Damaskenos, Emmanuel Lambardos, Frangias Kavertzas, Ieremias Palladas, Victor, and Emmanuel Tzanes. https://camu.gr/en/art/byzantine-art/

I was immediately drawn to a 15th-century Icon presenting the Madre della Consolazione. How couldn’t I, when the Eastern Byzantine representational style, harmoniously met and adapted to the novel ideas of the ‘Maniera Greca’ style of 15th century Venice. An added bonus to the overall impression of this remarkable Icon is its Baroque wood-carved frame. High-relief open-work decoration of scrolling leaves and fruits, a ribbon passing between them, and five angels, almost sculpted in the round, create an impression of added opulence, and luxury.

The Canellopoulos Museum Icon is a typical example of an ‘Italo-Cretan’ style ‘Madre della Consolazione’ composition. It depicts the Virgin Mary in the ‘bust’ format, against the traditional Byzantine gold background, holding the infant Jesus on her right arm. Mary is depicted with a serene expression, gazing, with slanted eyes, at the child she affectionately holds. The infant Jesus presents the gold globus cruciger of the world with his left hand, and blesses the viewer with his right.

Inspired by the Byzantine tradition, Mary wears a red maphorion trimmed with elaborate gold embroidery of pseudo-Kufic motifs on its edge and carries the three gold stars (only two are visible), which symbolize chastity, on her forehead and her shoulders. The infant Christ, on the other hand, placed on the right side of the composition, is dressed in a white chiton, a deep blue ‘chemise’ of a Western type, embroidered richly in gold, and an orange himation with gold Byzantine striations.

Superbly crafted, and refined in execution, the Madre della Consolazione composition aims to convey a sense of comfort, solace, and maternal love. The overall mood of the Canellopoulos Museum Icon is one of sweet tenderness and compassion.

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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!