Portrait of Giovanni Arnolfini and his Wife

by ArtEducationFlemish ArtNorthern RenaissanceRenaissanceStudent ActivitiesWorksheets
Jan Van Eyck, b. before 1395 – d. 1441
Portrait of Giovanni Arnolfini and his Wife, 1434, Oil on oak, 82 x 60 cm, National Gallery, London https://www.thehistoryofart.org/jan-van-eyck/arnolfini-wedding/

When the time comes for me to introduce my students to Jan van Eyck’s Portrait of Giovanni Arnolfini and his Wife,  I start with his flamboyant signature, Johannes de Eyck fuit hic. 1434 – Jan van Eyck was here. 1434, inscribed immediately above the mirror on the portrait’s background wall. Unpretentious words… but how artfully do they draw attention to his extraordinary skills as a painter and a storyteller! https://www.nationalgallery.org.uk/paintings/jan-van-eyck-portrait-of-a-man-self-portrait

Jan Van Eyck, b. before 1395 – d. 1441
Portrait of Giovanni Arnolfini and his Wife (detail of inscription), 1434, Oil on oak, 82 x 60 cm, National Gallery, London
https://en.wikipedia.org/wiki/File:The_Arnolfini_Portrait,_d%C3%A9tail_(6).jpg

Then, I am in trouble… I look at my students and I am flooded with questions, I do not have the precise answers. Is this exactly the reason why the Arnolfini Portrait is so attractive? How do I proceed?

“Jan van Eyck is credited with originating a style of painting characterized by minutely realistic depictions of surface effects and natural light. This was made possible by using an oil medium, which allowed the building up of paint in translucent layers, or glazes.” These two sentences by the National Gallery in London embody the essence of van Eyck’s painting style and technique. I like to read them to my students emphasizing his contribution to Western European Art. Information about his training and his life is scarce, we do know, however, that he was a member of the gentry class and that by 1425 he lived at Bruges and Lille as a court painter to Philip the Good, Duke of Burgundy. We also know that in 1428 he traveled to Portugal to paint Philip the Good’s future wife, Isabella of Portugal.     https://www.nationalgallery.org.uk/artists/jan-van-eyck

I still hesitate… and start with the background, the decorative details, the room itself! Easier to say than do…

Jan Van Eyck, b. before 1395 – d. 1441
Portrait of Giovanni Arnolfini and his Wife (upper half), 1434, Oil on oak, 82 x 60 cm, National Gallery, London https://www.dailyartmagazine.com/the-arnolfini-portrait/

First impressions… This seems to be a luxurious room in a house of brick, lit up by a window that opens onto a garden with a cherry tree, glimpsed through the open shutters. Colourful light comes in through the glass window at the top, with clear bulls-eye pieces set in blue, red, and green stained glass. What an amazing display of wealth and “hidden symbolisms”…  

Let’s start with the impressive, bronze chandelier, that has one lit candle, which represents the seeing eye of God. Consider the mirror, decorated with scenes from the Passion of Christ, unblemished so as to symbolize the piety of Mary, the Mother of God. The wooden sandals… could they imply a “sacred” ground, or are they another evidence of incredible wealth? Could the small dog between the couple symbolize marital fidelity? Last but not least… the figure of St. Margaret carved on the finial of the big chair by the bed is the patron saint of pregnancy and childbirth, while the cherry tree painted outside the window is a symbol of love! https://www.nationalgallery.org.uk/paintings/jan-van-eyck-the-arnolfini-portrait and https://www.artstor.org/2017/06/06/the-many-questions-surrounding-jan-van-eycks-arnolfini-portrait/

Jan Van Eyck, b. before 1395 – d. 1441
Portrait of Giovanni Arnolfini and his Wife (details of the dog and St. Margaret), 1434, Oil on oak, 82 x 60 cm, National Gallery, London
https://en.wikipedia.org/wiki/Arnolfini_Portrait#/media/File:Jan_van_Eyck_009.jpg
https://oeuvremagazinecom.wordpress.com/2017/05/03/the-symbolic-meaning-of-the-arnolfini-wedding/

The Arnolfini room is full of smaller or bigger luxuries. The bed, for example, covered with expensive red woolen cloth dominates the scene along with ornately carved furniture, covered with red cushions and fabric. An intricately woven Oriental rug on the floor, oranges by the window, and beautiful rosary beads hanging next to the mirror… are all signifiers of great wealth in 15th century Belgium. https://www.nationalgallery.org.uk/paintings/jan-van-eyck-the-arnolfini-portrait and https://www.artstor.org/2017/06/06/the-many-questions-surrounding-jan-van-eycks-arnolfini-portrait/

The difficult questions must be addressed… Who are the people in this luxurious, very personal setting? So many questions… and so many diverse answers!

Jan Van Eyck, b. before 1395 – d. 1441
Portrait of Giovanni Arnolfini and his Wife (portraits), 1434, Oil on oak, 82 x 60 cm, National Gallery, London
https://www.artble.com/imgs/b/9/e/222687/249875.jpg and https://www.dailyartmagazine.com/the-arnolfini-portrait/

They are clearly, according to the National Gallery in London, husband, and wife, and for many years the painting was understood as representing a marriage ceremony, though not anymore. From early on the painting was identified as showing one ‘Hernoul le Fin’ or ‘Arnoult Fin’. The most likely candidate is Giovanni di Nicolao di Arnolfini, known as Giannino or Jehannin, who would have been in his late thirties in 1434. The lady is probably his second wife, whose identity is unknown. The large round mirror that hangs right in the centre of the composition is stunning! Its convex glass shows not just the compressed and contorted room but also two men coming in through a door behind us. Immediately above the mirror is the flamboyant signature: Johannes de Eyck fuit hic. 1434 (‘Jan van Eyck was here. 1434’). Are the two men in the mirror Jan van Eyck, in a red turban, and his servant, arriving on a visit? https://www.nationalgallery.org.uk/paintings/jan-van-eyck-the-arnolfini-portrait

Jan Van Eyck, b. before 1395 – d. 1441
Portrait of Giovanni Arnolfini and his Wife (detail of mirror), 1434, Oil on oak, 82 x 60 cm, National Gallery, London
https://el.m.wikipedia.org/wiki/%CE%91%CF%81%CF%87%CE%B5%CE%AF%CE%BF:The_Arnolfini_Portrait,_d%C3%A9tail_%282%29.jpg

So many questions…

For a Student WRAP Activity on the Portrait of Giovanni Arnolfini and his Wife, please… Check HERE!

An informative Video (3:59 min) presentation of the Arnolfini Portrait prepared by the National Gallery in London… https://www.youtube.com/watch?v=wM6d9BOj4Ww

If you want to explore the Bibliography on the Portrait of Giovanni Arnolfini and his Wife… start with: Jan van Eyck’s Arnolfini Portrait, by Erwin Panofsky, The Burlington Magazine for Connoisseurs, Vol. 64, No. 372 (Mar. 1934), pp. 117-119+122-127 (9 pages) https://www.jstor.org/stable/865802

The Enthroned Christ and Emperor Leo VI the Wise

by ArtByzantine ArtByzantine MosaicsByzantiumStudent ActivitiesWorksheets
The Enthroned Christ and Emperor Leo VI the Wise, around the year 920, mosaic decorating the lunette over the Imperial Door in the Narthex of Hagia Sophia, the Great Church of the Byzantine Empire, Istanbul, Turkey https://www.pallasweb.com/deesis/inner-outer-narthex-hagia-sophia.html

I like what the late Professor Nicolas Oikonomides wrote about the Byzantine mosaics in the vestibule and the narthex of the Great Church of Hagia Sophia… The imperial mosaics of Saint Sophia, beyond their artistic value, are of considerable historical importance… and… mosaics were made in the hope that they would survive ad saecula saeculorurn. Consequently, although representing a particular scene, or event, or idea that prevailed at the time of their composition, they were also supposed to bequeath their presumably understandable message to future generations. I am reading his article, Leo VI and the Narthex Mosaic of Saint Sophia, follow his steps, and learn interesting facts about the Enthroned Christ and Emperor Leo VI the Wise, the mosaic decorating the lunette over the Imperial Door of the Great Church. Dumbarton Oaks Papers, Vol. 30 (1976), pp. 151+153-172 (26 pages) https://www.jstor.org/stable/1291393 and http://archive.eclass.uth.gr/eclass/modules/document/file.php/SEAD336/Oikonomides-Leo%20VI.pdf

In 1930 Thomas Whittemore, an American scholar, archaeologist, and restoration expert founded the Byzantine Institute of America and in 1931 took over the responsibility of recovering the mosaics of Hagia Sophia after receiving the approval of the founder of the Turkish Republic, Kemal Ataturk, who turned Hagia Sophia into a museum four years later. 1n 1933 Whittemore uncovered and restored the mosaic decorating the lunette over the Imperial Door of Hagia Sophia. This mosaic, featuring the enthroned Christ in the center, a Byzantine Emperor in a prostrate position to his right, Whittemore identified him as Leo VI the Wise, and two medallions presenting the Mother of God and the Archangel Gabriel, is most unusual-a hapax in Byzantine art, according to Nicolas Oikonomides.  https://greekreporter.com/2020/07/14/the-american-who-restored-hagia-sophias-ancient-mosaics-to-their-former-glory/ and The Mosaics of St. Sophia at Istanbul by Thomas Whittemore, American Journal of Archaeology, Vol. 42, No. 2 (Apr. – Jun. 1938), p 220 https://www.jstor.org/stable/499667?read-now=1&refreqid=excelsior%3A6760f2942e2ab709e12081a284c41584&seq=3#page_scan_tab_contents and file:///C:/Users/aspil/OneDrive/Blog/Byzantium%20Mosaics/Leo%20the%20Wise%20Oikonomides.pdf

Byzantinologists agree that the Hagia Sophia Mosaic over the Imperial Door (Christ and Emperor Leo VI, the Wise) is to be dated to the second half of the ninth century or the beginning of the tenth. There is a disagreement, however, over the meaning of the whole composition, on which Oikononides gives an explanation I find interesting. file:///C:/Users/aspil/OneDrive/Blog/Byzantium%20Mosaics/Leo%20the%20Wise%20Oikonomides.pdf page 154

The Enthroned Christ and Emperor Leo VI the Wise (detail), around the year 920, mosaic decorating the lunette over the Imperial Door in the Narthex of Hagia Sophia, the Great Church of the Byzantine Empire, Istanbul, Turkey https://el.m.wikipedia.org/wiki/%CE%91%CF%81%CF%87%CE%B5%CE%AF%CE%BF:Detail_of_the_Imperial_Gate_mosaic_in_Hagia_Sophia_showing_Leo_VI_the_Wise.jpg

Prof. Nicolas Oikonomides presents, I believe, a very persuasive argument over the meaning of the composition. He stresses the idea of how unique and unusual the theme of an emperor prostrating himself in front of Christ is in Byzantine imperial iconography and questions… Is the depicted Emperor exhibiting extreme humiliation or repentance? Oikonomides is in favor of repentance over humiliation. To support his case, he recalls that the initial meaning of the Greek word μετάνοια is repentance. He also recalls that since early Byzantine times, the same term, μετάνοια. is used by Orthodox Greeks to mean prostration, because prostration was-and still is, an act of penance, a normal way for the Orthodox Greeks to show repentance. He then compares the Emperor depicted in the Hagia Sophia mosaic to famous manuscript illuminations depicting the Repentance of David, the Biblical King, and he concludes that the Hagia Sophia mosaic of an Emperor in a prostrate position shows a repentant emperor. file:///C:/Users/aspil/OneDrive/Blog/Byzantium%20Mosaics/Leo%20the%20Wise%20Oikonomides.pdf Pages 154-158

For a Student Activity, please… Check HERE!

Babylonian Panel with a Striding Lion

by ArtMesopotamiaPowerpointsStudent ActivitiesWorksheets
Panel with a Striding Lion, Neo-Babylonian period, 605–562 BC, glazed ceramic, 97.2 × 227.3 cm, the MET, NY, USA
https://www.latimes.com/entertainment-arts/story/2021-04-21/getty-villa-mesopotamia-louvre

The Inscription of the Ishtar Gate reads… Nebuchadnezzar, King of Babylon, the faithful prince appointed by the will of Marduk, the highest of princely princes, beloved of Nabu, of prudent counsel, who has learned to embrace wisdom, who fathomed their divine being and reveres their majesty, the untiring governor, who always takes to heart the care of the cult of Esagila and Ezida and is constantly concerned with the well-being of Babylon and Borsippa, the wise, the humble, the caretaker of Esagila and Ezida, the firstborn son of Nabopolassar, the King of Babylon. Both gate entrances of Imgur-Ellil and Nemetti-Ellil —following the filling of the street from Babylon—had become increasingly lower. Therefore, I pulled down these gates and laid their foundations at the water-table with asphalt and bricks and had them made of bricks with blue stone on which wonderful bulls and dragons were depicted. I covered their roofs by laying majestic cedars length-wise over them. I hung doors of cedar adorned with bronze at all the gate openings. I placed wild bulls and ferocious dragons in the gateways and thus adorned them with luxurious splendor so that people might gaze on them in wonder. The Babylonian Panel with a Striding Lion exhibited in the MET, in New York City… was part of Babylon’s amazing Processional Way that connected the Ishtar Gate to the Temple of Bit Akitu, or “House of the New Year’s Festival.” http://www.kchanson.com/ANCDOCS/meso/ishtarins.html and https://www.metmuseum.org/art/collection/search/322585

City model of the main Procession Street (Aj-ibur-shapu) towards Ishtar Gate in Babylon, Model at the Pergamon Museum, Berlin, Germany https://en.wikipedia.org/wiki/Ishtar_Gate

The Ishtar Gate and the Processional Way in ancient Babylon may not be among the Seven Wonders of the Ancient World, but they were spectacular to view and memorable to walk by them. They were both commissioned by the longest-reigning king of the Neo-Babylonian Empire, Nebuchadnezzar II, who ruled for forty-three years, from August 605 BC to October 561 BC. The Procession Way, ran through the Ishtar Gate, connecting the inner city with the Temple of Bit Akitu, or House of the New Year’s Festival.

The Ishtar Gate walls were constructed with coloured glazed bricks, decorated with figures of Bulls and Dragons, symbols of the weather god Adad and of Marduk. The walls flanking the Processional Way were lined with figures of Striding Lions made of coloured glazed bricks as well. The depicted lions, the animal associated with Ishtar, goddess of love and war, served to protect the street; their repeated design served as a guide for the ritual processions from the city to the temple. Archaeologists believe there were friezes of flowers and sixty fierce-looking Babylonian lions on either side of the Procession Way. Glazed bricks of blue, turquoise, and golden-ochre colours, created a “magical” effect of grandeur and splendor, suitable for a city enveloped in the lore of majesty and luxury! https://www.metmuseum.org/art/collection/search/322585

Babylon Processional Stay with Striding Lions, Neo-Babylonian period, 605–562 BC, glazed ceramics, Pergamon Museum, Berlin, Germany https://commons.wikimedia.org/wiki/File:Babylon_processional_way.jpg

The Babylon Processional Way is a marvelous achievement of the reign of Nebuchadnezzar II. Monumental in size, vibrantly colourful, and highly ornate, the Processional Way was meant to dazzle the passer-by, citizen of the city of Babylon, or traveler from afar. The entire structure served as a monument rather than having practical uses, and the religious devotion is clear cut in the representation of the gods in their animal form. https://history2701.fandom.com/wiki/Processional_Way

Hundreds of thousands of glazed brick fragments being sorted in the colonnades of the Neues Museum, Berlin, 1927–1928 © Staatliche Museen zu Berlin, Vorderasiatisches Museum/photographer unknown https://www.smb.museum/en/exhibitions/detail/from-fragment-to-monument/

Excavations in Babylon started in 1899 by the German archaeologist Robert Koldewey of the Deutsche Orient-Gesellschaft (German Oriental Society) and continued to 1917. From the very beginning the objective of the excavations included not only scientific research but also the acquisition of exhibits for the Berlin museums. Shipments of excavated Babylonian glazed bricks were used to create a life-size construction of the Ishtar Gate, and the Processional Way, widely regarded as one of the most spectacular reconstructions in the history of archaeology. The reconstruction was completed in 1930 for the Pergamon Museum, on MuseumInsel in Berlin. A number of pieces from the Processional Way were sold to other museums, and these can be seen in 11 museums, the MET Museum in New York is one of them, around the world. https://archaeology-travel.com/photo-album/ishtar-gate-in-the-pergamon-museum/ and https://www.smb.museum/en/exhibitions/detail/from-fragment-to-monument/

For a Student Activity on the Babylonian Striding Lion, please… Check HERE!

An Educational Video, by Khan Academy… Reconstruction of the Ishtar Gate and Processional Way, Pergamon Museum, Berlin, Germany, created by Beth Harris and Steven Zucker… https://www.khanacademy.org/humanities/ancient-art-civilizations/ancient-near-east1/babylonian/v/ishtar-gate-and-processional-way-reconstruction-babylon-c-575-b-c-e

A Google Arts & Culture short Video (2:23min) of the Ishtar Gate and the Procession Way in 3D reconstruction… https://www.youtube.com/watch?v=ew88Z1h6jzg

For a YouTube Clip on Alexander’s grand entry into Babylon from Oliver Stone’s  2004 movie, Alexander (1.46min)… https://www.youtube.com/watch?v=zRK_X5NbIXs

The Hodegetria Plaque

by ArtByzantine ArtByzantine IvoriesByzantiumStudent ActivitiesWorksheets
The Hodegetria with St. John the Baptist and St. Basil, Second half of 10th century, Ivory, 16.3×10.5 cm, Dumbarton Oaks, Washington, DC, USA http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222608%22&sort=0&page=5

In 1939, John Hanson writes, Mildred Bliss brought this plaque, The Hodegetria Plaque, to Princeton for advice from the most important authority on Byzantine ivory carving at the time, Kurt Weitzmann who, with Adolf Goldschmidt, had published the corpus of Byzantine ivories in 1930 and 1934. He later recalled Mrs. Bliss showing him the piece: When I showed my enthusiasm for this entirely unknown ivory I was courteously reprimanded for having made my judgment too quickly—“It would have taken Dr. Goldschmidt a little longer to make up his mind.” http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222608%22&sort=0&page=5

This amazing Ivory Plaque intrigued me… particularly John Hanson’s reference to the Louvre Ivory relief of St. Theodore… Weitzmann succeeded, Hanson writes, in identifying a relief of St. Theodore in the Louvre as one of the wings for the Dumbarton Oaks ivory. Fascinated, I searched the Louvre Byzantine Collection of Ivory carvings and digitally “reunited” the left wing (in the Louvre) of the original triptych, with the Dumbarton Oaks central plaque. Both Ivories show exceptional quality of artisanship – seen in the subtlety of the drapery folds and the noble bearing of the figures – suggesting an aristocratic owner, perhaps even an emperor.http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222608%22&sort=0&page=5 and https://collections.louvre.fr/en/ark:/53355/cl010112514

The left panel of a triptych: Saint Theodore, Second half of 10th century, Ivory, 16.8×13.4 cm, the Louvre, Paris, France https://collections.louvre.fr/en/ark:/53355/cl010112514  
The Hodegetria with St. John the Baptist and St. Basil, Second half of 10th century, Ivory, 16.3×10.5 cm, Dumbarton Oaks, Washington, DC, USA http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222608%22&sort=0&page=5

The Louvre Ivory wing presents St. Theodore as a dignified, and bearded mature man, standing tall, facing the viewer. His head is, however, turned to the left, and presented slightly bent. Although St. Theodore is a military saint, is presented, in this case, wearing civilian clothes. I particularly like his coat… fastened on the right shoulder, and beautifully embellished with embroideries like the “tablion” element, noticeably, and centrally placed. https://collections.louvre.fr/en/ark:/53355/cl010112514

The Dumbarton Oaks ivory group of Panagia Hodegetria with St. John the Baptist and St. Basil is equally impressive! It is an understated, yet majestic Deësis (intercession) scene. St. John the Baptist, and St. Basil, their heads bent and hands pleading, take the role of intercessors…. while the Hodegetria, tall and elegant, rises over them.

Searching for information and answers… I was charmed by the way Hayford Peirce, and Royall Tyler described the Ivory Plaque as possessing… unobtrusive grace, a reconciliation of the extremes of elegance and austerity and suppleness to drapery, by introducing shallow folds between the deep ones. An Ivory of the Xth Century by Hayford Peirce and Royall Tyler, Dumbarton Oaks Papers, Vol. 2, Three Byzantine Works of Art (1941), pp. 11+13-18 (29 pages) https://www.jstor.org/stable/1291034?read-now=1&refreqid=excelsior%3Adddb1a0fffb6beb88c85fcb7f5253cca&seq=2

An article titled Two Images of the Virgin in the Dumbarton Oaks Collection by Sirarpie der Nersessian in Dumbarton Oaks Papers, Vol. 14 (1960), pp. 69+71-86 was equally interesting. The author describes the Hodegetria as exhibiting the finest qualities of the sculpture of the tenth century… https://www.jstor.org/stable/1291145?read-now=1&seq=5

For a Student Activity on Panagia Hodegetria with St. John the Baptist and St. Basil, please… Check HERE!

The Fall of Icarus

by 16th century ArtFlemish ArtMythologyNorthern RenaissanceRenaissanceStudent ActivitiesWorksheets
Pieter Brueghel the Elder, attributed, 1526/1530–1569
Landscape with the Fall of Icarus, circa 1558, oil on canvas mounted on wood, 73.5×112 cm, Royal Museums of Fine Arts of Belgium  https://commons.wikimedia.org/wiki/File:Pieter_Bruegel_de_Oude_-_De_val_van_Icarus.jpg

The ancient Greek Myth of Icarus has endured not only in visual but in literary arts as well! The Fall of Icarus attributed to Pieter Bruegel the Elder(According to the museum: “It is doubtful the execution is by Bruegel the Elder, but the composition can be said with certainty to be his”) is a fine example of how the Visual and the Literary Arts complement each other! https://en.wikipedia.org/wiki/Landscape_with_the_Fall_of_Icarus

The myth of Icarus’s Fall is magnificently told by Ovid in Book VIII: 183-235 of his Metamorphoses… When Daedalus had put the last touches to what he had begun, the artificer balanced his own body between the two wings and hovered in the moving air. He instructed the boy as well, saying ‘Let me warn you, Icarus, to take the middle way, in case the moisture weighs down your wings, if you fly too low, or if you go too high, the sun scorches them. Travel between the extremes. And I order you not to aim towards Bootes, the Herdsman, or Helice, the Great Bear, or towards the drawn sword of Orion: take the course I show you!’ At the same time as he laid down the rules of flight, he fitted the newly created wings on the boy’s shoulders. While he worked and issued his warnings the aging man’s cheeks were wet with tears: the father’s hands trembled… but the boy did not listen… he began to delight in his daring flight, and abandoning his guide, drawn by desire for the heavens, soared higher… and disaster stroke! https://www.poetryintranslation.com/PITBR/Latin/Metamorph8.php#anchor_Toc64106497

The iconic painting of the Fall of Icarus in the Royal Museums of Fine Arts of Belgium is an amazing World Landscape, a type of composition depicting an imaginary panoramic landscape seen from an elevated viewpoint that includes mountains and lowlands, water, and buildings. At first glance, it is not easy to notice the spot where Icarus fell. All the artist painted is a pair of legs kicking in the sea next to the big ship on the right side of the composition. The depicted plowman carries on with his task while the shepherd seems unaware of the event, gazing into the air, away from the ship. Could the artist present the Flemish proverb… And the farmer continued to plough… pointing out the ignorance of people of fellow men’s suffering? https://en.wikipedia.org/wiki/World_landscape and https://en.wikipedia.org/wiki/Landscape_with_the_Fall_of_Icarus

Pieter Brueghel the Elder, attributed, 1526/1530–1569
Landscape with the Fall of Icarus (detail of Icarus), circa 1558, oil on canvas mounted on wood, 73.5×112 cm, Royal Museums of Fine Arts of Belgium  https://upload.wikimedia.org/wikipedia/commons/0/0b/Pieter_bruegel_il_vecchio%2C_caduta_di_icaro%2C_1558_circa_07.JPG
Pieter Brueghel the Elder, attributed, 1526/1530–1569
Landscape with the Fall of Icarus (detail of the boat), circa 1558, oil on canvas mounted on wood, 73.5×112 cm, Royal Museums of Fine Arts of Belgium 
https://commons.wikimedia.org/wiki/File:Pieter_bruegel_il_vecchio,_caduta_di_icaro,_1558_circa_06_nave.JPG

The Fall of Icarus attributed to Pieter Bruegel the Elder inspired the acclaimed poet of the Imagist movement, William Carlos Williams (1883-1963) to write… According to Brueghel / when Icarus fell / it was spring     /     a farmer was ploughing / his field / the whole pageantry     /     of the year was / awake tingling / near     /     the edge of the sea / concerned / with itself     /     sweating in the sun / that melted / the wings’ wax     /     unsignificantly / off the coast / there was     /     a splash quite unnoticed / this was / Icarus drowning…  https://poets.org/poem/landscape-fall-icarus

Pieter Brueghel the Elder, attributed, 1526/1530–1569
Landscape with the Fall of Icarus (detail of the city), circa 1558, oil on canvas mounted on wood, 73.5×112 cm, Royal Museums of Fine Arts of Belgium  https://www.dailyartmagazine.com/painting-of-the-week-pieter-bruegel-the-elder-landscape-with-the-fall-of-icarus/

It inspired, the British-American poet, Wystan Hugh Auden, as well, who writes …In Breughel’s Icarus, for instance: how everything turns away / Quite leisurely from the disaster; the ploughman may / Have heard the splash, the forsaken cry, / But for him it was not an important failure; the sun shone / As it had to on the white legs disappearing into the green / Water, and the expensive delicate ship that must have seen / Something amazing, a boy falling out of the sky, / Had somewhere to get to and sailed calmly on. http://english.emory.edu/classes/paintings&poems/auden.html

Amazing!

For a Student Activity on The Fall of Icarus, a painting in the Royal Museums of Fine Arts of Belgium and the poem Lines on Brueghel’s “Icarus” by Michael Peter Leopold Hamburger (1924-2007) inspired by the painting, please… Check HERE!

An interesting Video, prepared by Royal Museums of Fine Arts of Belgium and presented by Christine Ayoub on The proverbs in Pieter Bruegel’s “Fall of Icarus” https://www.youtube.com/watch?v=duf0knJ7CXI

Christine Ayoub, a guide at the Royal Museums of Fine Arts of Belgium, presents another interesting Video, reading an extract from Ovid’s Metamorphoses featuring the tale of the Fall of Icarus.  https://artsandculture.google.com/story/ewUxXpmuNdcLJg

Pieter Brueghel the Elder, attributed, 1526/1530–1569
Landscape with the Fall of Icarus (detail of the sun), circa 1558, oil on canvas mounted on wood, 73.5×112 cm, Royal Museums of Fine Arts of Belgium  https://www.dailyartmagazine.com/painting-of-the-week-pieter-bruegel-the-elder-landscape-with-the-fall-of-icarus/

Simon Bening’s August

by 16th century ArtArtFlemish ArtManuscriptsNorthern RenaissancePowerpointsRenaissanceStudent ActivitiesWorksheets
Simon Bening (d. 1561) and his workshop
Book of Hours, known as the Golf Book, August (f. 25v),c. 1540, 30 Parchment leaves on paper mounts, bound into a codex, 110 x 80 mm (text space: 85 x 60 mm), British Library, London, UK https://blogs.bl.uk/digitisedmanuscripts/calendars/page/10/

Like liquid gold the wheat field lies, / A marvel of yellow and russet and green, / That ripples and runs, that floats and flies, / With the subtle shadows, the change, the sheen… writes American poet Hannibal Hamlin Garland, and Simon Bening’s August scene comes to my mind… a scene of wheat fields like liquid gold and green countryside full of subtle shadows, change, and sheen… https://sites.google.com/site/rainydaypoems/poems-for-kids/poems-teachers-ask-for/color-in-the-wheat-by-hamlin-garland

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… just like the August scene in the famous Golf Book! https://www.getty.edu/art/collection/person/103JTN

The Month of August full-page miniature (f. 25v) is dedicated to distinct aspects of peasant occupations in the month of August. It is divided into three parts, the lower right one, leading the composition. Prominently posed, a pair of field hands are taking a break, their tools of labor lying on the ground, happily munching on some kind of food… waiting for more! A young woman is approaching them with a basket of more food balancing on top of her head, and a heavy, large carafe of a beverage held by her right hand. Behind a low fence made of wicker canes woven around stakes driven into the ground, a second peasant is still working hard in the field… bent, scythe in hand, cutting wheat.

Simon Bening (d. 1561) and his workshop
Book of Hours, known as the Golf Book, August (Details, f. 25v), c. 1540, 30 Parchment leaves on paper mounts, bound into a codex, 110 x 80 mm (text space: 85 x 60 mm), British Library, London, UK
http://www.bl.uk/manuscripts/Viewer.aspx?ref=add_ms_24098_fs001r

The left part of the composition is my favorite! Separated by a canal or river with swimming swans and a small bridge, Bening painted a country path along a hedged country estate of lush greenery. This is what the artist was famous for… images of unique landscapes in delicate brushwork and an extravaganza of green tints and shades. Never to forget that this is a composition dedicated to harvesting, Bening painted a path with a horse-drawn cart loaded with sheaves of straw going along it. https://www.moleiro.com/en/books-of-hours/the-golf-book-book-of-hours/miniatura/500e65cc826a5

The third, back part of Bening’s August page, is fully dedicated to Bening’s August theme… harvest, and the lush countryside. A fortress-like, gated area, equally plush and verdant, with an impressive church to the right, dominates the scene. In front of it, was another field of yellow, willowy wheat, and a peasant hard in harvesting. In the very distant, blue cloudless skies… the majesty of nature at its best…

For a PowerPoint on the  Golf Book, please… Check HERE!

For a Student Activity on Simon Bening’s July page, please… Check HERE!

Simon Bening (d. 1561) and his workshop
Book of Hours, known as the Golf Book, August (f. 25v and 26r),c. 1540, 30 Parchment leaves on paper mounts, bound into a codex, 110 x 80 mm (text space: 85 x 60 mm), British Library, London, UK
https://blogs.bl.uk/digitisedmanuscripts/calendars/page/10/

Christ Pantocrator in the Byzantine Monastery of Daphni

by ArtByzantine ArtByzantine Church ArchitectureByzantine MosaicsByzantiumGreek ArtStudent ActivitiesWorksheets
Daphni Monastery Pantocrator Mosaic, 11th century, Attica, Greece
https://www.efada.gr/%CE%91%CF%81%CF%87%CE%B1%CE%B9%CE%BF%CE%BB%CE%BF%CE%B3%CE%B9%CE%BA%CE%BF%CE%AF-%CE%A7%CF%8E%CF%81%CE%BF%CE%B9-%CE%9C%CE%BD%CE%B7%CE%BC%CE%B5%CE%AF%CE%B1/%CE%9C%CE%BF%CE%BD%CE%AE-%CE%94%CE%B1%CF%86%CE%BD%CE%AF%CE%BF%CF%85

Christ Pantocrator in the Byzantine Monastery of Daphni… whose great eyes, dark and exorbitant and cast almost furtively over one shoulder, at total variance with His right hand’s serene gesture of blessing and admonition, spell not only pain but fear, anguish and guilt, as though He were in flight from an appalling doom. The only fit setting for such an expression is the Garden of ! Gethsemane; but this is a Christ-God in His glory, the All-Powerful One. It is tremendous, tragic, mysterious and shattering… writes Patrick Leigh Fermor in his travel book Mani. Travels in the Southern Peloponnese of 1958. https://patrickleighfermor.org/tag/mani/ and https://www.biblio.com/mani-by-fermor-patrick-leigh/work/20200

The sight of the Pantocrator image at Daphni is indeed breathtaking, and I particularly like Fermor’s use of adjectives… tremendous, tragic, mysterious, and shattering! Whether Fermor was right or not in his description… whether the Daphni Pantocrator survives today exactly as it was created by the anonymous 11th century Byzantine master… is not easy to answer, but was expertly addressed by Robin Cormack in his 2009 article Rediscovering the Christ Pantocrator at Daphni. Professor Cormack takes his reader on a wonderful journey as he “deciphers” the secrets of this amazing mosaic and the wondrous ways of mosaic restoration. Journal of the Warburg and Courtauld Institutes, Vol. 71 (2008), pp. 55-74 (20 pages) Published By: The University of Chicago Press https://www.jstor.org/stable/20462776?read-now=1&refreqid=excelsior%3Aefe48f19a158ab3c7526e9941fbf2d9f&seq=20

Daphni Monastery (South View), 11th century, Attica, Greece
https://www.efada.gr/%CE%91%CF%81%CF%87%CE%B1%CE%B9%CE%BF%CE%BB%CE%BF%CE%B3%CE%B9%CE%BA%CE%BF%CE%AF-%CE%A7%CF%8E%CF%81%CE%BF%CE%B9-%CE%9C%CE%BD%CE%B7%CE%BC%CE%B5%CE%AF%CE%B1/%CE%9C%CE%BF%CE%BD%CE%AE-%CE%94%CE%B1%CF%86%CE%BD%CE%AF%CE%BF%CF%85

Visiting the Daphni Monastery has always been a wonderful experience! Built on the slopes of Mount Egaleo in the grove of Haidari, next to the ancient Athenian Ιερά Οδό (Sacred Road) that connected Athens with Eleusis, the site of the eponymous Eleusinian Mysteries, lies the Byzantine Monastery of Daphni. It is only interesting that the Monastery was built on the location of the ancient sanctuary of Apollo Daphnaios, destroyed during the invasion of the Goths in 395 AD. Unfortunately, of the old temple only one Ionic column still remains in the colonnade of the narthex, while the rest were removed by Lord Elgin in the 19th century. http://odysseus.culture.gr/h/2/eh251.jsp?obj_id=1514

Daphni Monastery (Katholiko NE View), 11th century, Attica, Greece
https://www.efada.gr/%CE%91%CF%81%CF%87%CE%B1%CE%B9%CE%BF%CE%BB%CE%BF%CE%B3%CE%B9%CE%BA%CE%BF%CE%AF-%CE%A7%CF%8E%CF%81%CE%BF%CE%B9-%CE%9C%CE%BD%CE%B7%CE%BC%CE%B5%CE%AF%CE%B1/%CE%9C%CE%BF%CE%BD%CE%AE-%CE%94%CE%B1%CF%86%CE%BD%CE%AF%CE%BF%CF%85

According to the Greek Ministry of Culture (ΟΔΥΣΣΕΥΣ site), the first monastic community at Daphni was organized during the 6th century AD and was enclosed by strong defensive walls, almost square in plan. The catholicon was a three-aisled basilica which stood in the center of the courtyard. Along the inner NE side of the walls, two-storied buildings were constructed, containing the cells of the monks. A reception hall and a second block of cells were attached on the north wall of the enclosure. http://odysseus.culture.gr/h/2/eh251.jsp?obj_id=1514

What we see today is the 2nd phase of development and construction, dating from the 11th century (around 1080). The Monastery’s Katholikon is a cross-in-square church of the octagonal type, surmounted by a broad and high dome. It has a narthex, formed as an open portico… The exonarthex was constructed a little later, in the early 12th century and the chapel to the west was added in the 18th century… The porch with the three pointed arches in the west facade of the narthex was added in the 13th century by the Frankish monks and certainly points to western influence… The walls of the church are built in the simple cloisonne masonry with poor brick decoration, restricted on the windows… The monastery is protected by a square enclosure fortified with towers and ramparts, with two entrance gates on its east and west sides. http://odysseus.culture.gr/h/2/eh251.jsp?obj_id=1514

For a Student Activity, please… Check HERE!

For an interesting Video on the Daphni Monastery, please Check… https://www.archaeology.wiki/blog/video/daphni-monastery/

The Bastille in the first days of its Demolition

by 18th century ArtArtFrench Neoclassical ArtSocial StudiesStudent ActivitiesWorksheets
Hubert Robert,  French Artist, 1733-808
The Bastille in the first days of its Demolition, 1789, oil on canvas, 96×135 cm, Musée Carnavalet, Paris, France https://en.wikipedia.org/wiki/Hubert_Robert#/media/File:The_Bastille_in_the_first_days_of_its_demolition,_by_Hubert_Robert_(cropped).jpg

More than any other event of the eighteenth century writes Prof. Mircea Platon, the French Revolution, which began in 1789, changed the face of modern politics across Europe and the world. And it all began one July day when the people of Paris captured a fourteenth-century gothic prison known as the Bastille. The 14th of July is the anniversary of the Storming of the Bastille, a major event of the French Revolution, and the most important French Fête Nationale! Hubert Robert’s,  painting of The Bastille in the first days of its Demolition shows us how important and hated Bastille was by the French Revolutionaries. https://origins.osu.edu/milestones/july-2014-storming-bastille?language_content_entity=en

In the summer of 1789, Paris was at a boil. In May, the Estates-General, France’s Parliament, met for the first time in more than one hundred years, but it was a failure. Members of the Third Estate broke ranks and declared themselves to be the National Assembly of the country. On the 20th of June 1789, they gathered in a tennis court near the royal palace and solemnly swore not to separate before having established a Constitution. There was more… heavy taxation, food shortage, army mobilization around Paris, and the dismissal of the popular minister Jacques Necker on the 11th of July. The political situation in Paris was explosive! https://www.carnavalet.paris.fr/collections/serment-du-jeu-de-paume-le-20-juin-1789 and https://origins.osu.edu/milestones/july-2014-storming-bastille?language_content_entity=en

Early on the 14th of July, the angry Parisian crowd besieged the Hôtel des Invalides where they looted approximately 3,000 firearms and five canons. The weapons, however, required gunpowder, which was stored in the Bastille. After arriving at the prison and negotiating with its governor, marchers burst into an outer courtyard and a pitch battle erupted. By the time it was over, the people of Paris had freed the prisoners held in the Bastille and taken Governor de Launay captive. All of this happened on July 14, which has been known in France and all over the world as “Bastille Day” ever since. Hearing that the Bastille had fallen, Louis XVI asked the duke de La Rochefoucauld: “So, is there a rebellion?” To which the duke retorted: “No, Sire, a revolution!” https://origins.osu.edu/milestones/july-2014-storming-bastille?language_content_entity=en

On July 15, 1789, the day after Bastille was captured by the angry Parisian crowd, its demolition was decided and entrusted to the contractor Pierre-François Palloy. It was an important decision the citizens of Paris wanted to remember! As workmen tore down the spires on the roof, ordinary people ripped stones off the base. These stones soon became collectors’ items, souvenirs of the people’s role in the outbreak of the Revolution. https://www.carnavalet.paris.fr/en/collections/bastille-early-days-its-demolition and https://revolution.chnm.org/d/17

One of the many artists who painted Bastille’s Demolition was Hubert Robert. Known for his capricci paintings, real or fictional compositions of contemporary buildings, and/or archaeological ruins, the artist was famous, popular, and prolific. His painting of Bastille’s Demolition presents a historic event. The medieval fortification is depicted as monumental in size, strong, and commanding. The dramatic use of chiaroscuro acquires a symbolic and meditative dimension. According to the Musée Carnavalet experts, the Bastille state prison symbolized absolutism and the monarchy. Hubert Robert’s painting of  The Bastille in the first days of its Demolition encourages us to remember the stormy, and bumpy road toward representative democracy, and the noble ideas of liberty, equality, and fraternity. https://www.carnavalet.paris.fr/en/collections/bastille-early-days-its-demolition

Joyeux Quatorze Juillet à tous!

For a Student Activity, please… Check HERE!

Peplos Kore

by Ancient Greek ArtArtGreek ArtSculptureStudent ActivitiesWorksheets
The “Rampin Master” (?)
Peplos Kore, c. 530 BC, Parian Marble, H. 1.2 m, Acropolis Museum, Athens, Greece
https://www.theacropolismuseum.gr/en/statue-kore-peplos-kore

The Peplos Kore was discovered, back in 1886, in the Acropolis of Athens, during excavation work (1885-1889) led by P. Kavvadias. The lower part of her body was lying, broken, along with thirteen more broken statues, mostly female, architectural members, bronze figurines, marble statue bases, a hoard of silver coins, terracotta figurines, and sherds of pottery, in the so-called “Korai Pit” northwest of the Erechtheion. According to the Acropolis Museum experts, the “Korai Pit” is the conventional name for an artificial fill that covered a hollow located northwest of the Erechtheion, in order to create a level plane to receive the new fortification wall of the Acropolis. The hollow was filled with the debris of the Acropolis after it was destroyed by the Persians in 480 BC during the second Persian invasion of Greece. The buried treasures of the Acropolis are also known as the Perserschutt, a German term meaning “Persian debris or rubble.” The head of the Peploforos was found near the Korai Pit, and the statue’s torso, a little to the south, in the area of the Old Temple of Athena. https://theacropolismuseum.gr/en/statue-kore-5

The so-called “Korai Pit” northwest of the Erechtheion in the Acropolis of Athens, 1909 photo
https://en.wikipedia.org/wiki/Perserschutt

The “Peplophoros” as it is affectionately called by the Greeks, is an Archaic period (c. 600-480 BC) statue of a young female. Statues of a Kore, plural korai, refer to a type of freestanding effigy of a maiden specifically created during the Archaic Period. The Questions and Answers that follow, will hopefully help to better understand their role and importance in the development of Ancient Greek Art.

Can you define what a Kore statue is? Statues of a Kore, plural Korai, refer to a type of freestanding effigy of a maiden. Kore is a draped female figure—carved from marble and originally painted—standing erect with feet together or sometimes with one foot, usually the left, slightly advanced. The arms are sometimes down at the sides, but in most cases, one is brought up closely across the front of the body or is extended, holding an offering; the other is lowered, often clasping a fold of drapery. In the earliest korai, the bodies are so blocklike that they hardly seem to represent feminine form… Later, the drapery became more fluid, with a greater variation in the folds gained by having one hand of the kore pull the drapery tightly across thighs and buttocks. The garments worn by the kore figures changed in style as well, displaying a pattern, either on borders or as single ornaments scattered over larger areas. https://www.britannica.com/art/kore-Greek-sculpture and http://www.perseus.tufts.edu/hopper/artifact?name=Athens%2C+Acropolis+679&object=Sculpture

Can you describe the Peplos Kore? The Kore has been named the “Peplos Kore” due to the garment she wears – the peplos. The peplos was fastened in the middle with a belt and on the shoulders with bronze pins which were secured in the small holes that are still preserved. Beneath her peplos, the Kore wears a longer chiton, whose slender folds encase her legs. Spectrographic analysis of the colours has shown that the belt was once blue and green and the chiton blue, with a green band at the neck. The peplos was white – its middle section decorated with vertical rows of small animals, birds, and riders shown on squares of red framed by bands of colourful rosettes on a green background. The peplos borders were decorated by a double band with spirals, floral elements, and a chain of volutes and palmettes alternating with lotus flowers. https://www.theacropolismuseum.gr/en/statue-kore-peplos-kore

The “Rampin Master” (?)
Peplos Kore, c. 530 BC, Parian Marble, H. 1.2 m, Acropolis Museum, Athens, Greece
https://www.theacropolismuseum.gr/en/statue-kore-peplos-kore

Do we know the name of the artist who created the Peplos Kore? The face of the Peplos Kore is characterized by an interest in converging planes. The eyes and mouth occupy hollows that emphasize these features, separated by strongly protruding cheeks and a broad nose. The details are so close to the face of the Rampin Horseman that the two are often attributed to the same sculptor often called the “Rampin Master.” If true, she must be one of his late works, for she is stylistically much advanced. http://www.perseus.tufts.edu/hopper/artifact?name=Athens%2C+Acropolis+679&object=Sculpture

Who is the Peplos Kore, and what is she holding in her left hand? We do not know for sure who she was, and what she was holding in her left hand. However, the combination of a very conservative attire for the time the statue was created, leads many scholars to assume this is not a simple votive Kore statue, but the representation of a goddess – perhaps Artemis, who would have been gripping arrows in her right hand, and a bow in her left. https://theacropolismuseum.gr/en/statue-kore-5

Two more Teacher Curator BLOG POSTS on Ancient Greek Archaic Korai… https://www.teachercurator.com/art/daughters-of-eleutherna/ on the Daughters of Eleutherna, and https://www.teachercurator.com/ancient-greek-art/%CE%BA%CE%AC%CE%BB%CE%BB%CE%BF%CF%82-and-the-kore-from-chios/ on the Kore from Chios

For a Student Activity, please… Check HERE!

The Khan Academy Educational Video on the Peplos Kore… https://www.khanacademy.org/humanities/ancient-art-civilizations/greek-art/daedalic-archaic/v/peplos-kore

An interesting Video by the Cambridge University on the Peplos Kore and the way she was dressed and coloured… https://www.classics.cam.ac.uk/museum/collections/peplos-kore  

A fun Student Activity created by the Acropolis Museum Education Department, and titled Color the Peplos Kore… http://repository.acropolis-education.gr/acr_edu/handle/11174/305

John Singleton Copley’s Portrait of Paul Revere

by 18th century ArtAmerican ArtArtSocial StudiesStudent ActivitiesWorksheets
John Singleton Copley, 1738 – 1815
Portrait of Paul Revere, 1768, oil on canvas, 89.22 x 72.39 cm, Museum of Fine Arts, Boston MA, USA https://collections.mfa.org/objects/32401  

Listen, my children, and you shall hear /  Of the midnight ride of Paul Revere, / On the eighteenth of April in Seventy-Five; / Hardly a man is now alive / Who remembers that famous day and year. / He said to his friend, –“If the British march / By land or sea from the town to-night, / Hang a lantern aloft in the belfry-arch / Of the North-Church-tower, as a signal-light— / One if by land and two if by sea; / And I on the opposite shore will be, / Ready to ride and spread the alarm / Through every Middlesex village and farm, / For the country-folk to be up and to arm…     /     So through the night rode Paul Revere; / And so through the night went his cry of alarm / To every Middlesex village and farm,— / A cry of defiance, and not of fear, / A voice in the darkness, a knock at the door, / And a word that shall echo forevermore! / For, borne on the night-wind of the Past, / Through all our history, to the last, / In the hour of darkness and peril and need, / The people will waken and listen to hear / The hurrying hoof-beats of that steed, / And the midnight message of Paul Revere. Thus, begins and ends Henry Wadsworth Longfellow’s famous poem “Paul Revere’s Ride.” On the 4th of July 2022, I want to remember and honour the man, the brave Massachusetts Minuteman, and the talented silversmith… by looking at John Singleton Copley’s Portrait of Paul Revere! https://poets.org/poem/paul-reveres-ride

By 1867 Paul Revere was a member of the Massachusetts Minutemen, a group of patriots ready to act against the British army at a moment’s notice, had joined the Sons of Liberty group and was an active political figure. He was also famous for his considerable talents as a silversmith. Today his fame springs from Longfellow’s poem “Paul Revere’s Ride.”, a work that was first published in the January 1861 issue of The Atlantic Monthly, his remarkable portrait of 1768 by John Singleton Copley, and a select group of silverware like the “Sons of Liberty Bowl,” commissioned by 15 members of the Sons of Liberty in 1768, and made by the artist.

John Singleton Copley, 1738 – 1815
Portrait of Paul Revere (details), 1768, oil on canvas, 89.22 x 72.39 cm, Museum of Fine Arts, Boston MA, USA https://smarthistory.org/john-singleton-copley-paul-revere/

It is interesting how John Singleton Coplay portrayed Paul Revere in his traditional job as a silversmith, and not as the important revolutionary figure he was. He stands behind his highly polished table, holding a silver tea-pot, tools of his trade in front of him, modestly dressed… showing an industrious and humble character. It is no surprise that Revere was portrayed this way, for the revolutionary Americans, especially those of the north, were very proud of their industrial nature. https://gschmittleinushistory.weebly.com/mfa-project.html

Copley’s portrait of Paul Revere is, according to Dr. Bryant Zygmont, striking in many ways. The way he is dressed is one of them… Revere, shown by Copley in half-length, wigless, holding his chin with his right hand and regarding the viewer as if he has just looked up, is not portrayed wearing his “Sunday’s Best” clothing, as was the custom of the time. Revere wears, for example, no Jacket or Coat, as every Colonial American man would have worn if they could afford to do so. Instead, he wears simple working attire, a decision that underscores his artisan, middle-class status. Details not to be missed are… the open-collared shirt, made from plain white linen, the lack of cravat, a kind of formal neckwear, the open undershirt peeking from underneath his linen shirt, and a wool (or perhaps a dull silk) waistcoat, unbuttoned as well, yet featuring two gold buttons. https://smarthistory.org/john-singleton-copley-paul-revere/

There are more details to notice. Revere’s, for example, open white shirt and the blue-green waistcoat is worn without a jacket are associated with work clothes. Yet, the cleanliness of his attire, the golden buttons of his vest, the nearly completed silver tea-pot in his left hand, and the polished, pristine table in front of him, do not reflect the garments Revere actually wore to ply his trade, nor the craftsman’s workbench. Is John Singleton Copley’s Portrait of Paul Revere an idealized image of the American artisan at work? One can only wonder! https://collections.mfa.org/objects/32401

Happy 4th of July

Information for my short presentation was sourced in https://smarthistory.org/john-singleton-copley-paul-revere/ and https://collections.mfa.org/objects/32401

For a Student Activity, please… Check HERE!

For a Student Activity on Copley’s Portrait of Paul Revere, Check the Teachers Resource Book of Picturing America by the National Endowment for the Humanities, pp. 10-11 https://web-archive-2017.ait.org.tw/zhtw/PUBS/PicturingAm/PA_TeachersResource_Book_en.pdf

Photo of the 2019 Exhibition Becoming a Painter in 18th-Century Boston: Copley and Others. Copley’s Portrait of Paul Revere and the “Sons of Liberty Bowl,” created by Paul Revere Jr. and commissioned by 15 members of the Sons of Liberty in 1768.
https://www.mfa.org/programs/gallery-activities-and-tours/becoming-a-painter-in-18th-century-boston-copley-and-others