you can download my presentations at
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http://www.authorstream.com/Presentation/guimera-4815215-glasses-paintings/
Baroque Masters in the Museum of Fine Arts of Seville (2)guimera
Baroque is a perspective on life and is, at the same time, its expression through art.
The Seville school of this period is renowned for the genius of its artists, including Velázquez, Zurbarán, Murillo …
not surprising to find flies in the paintings ...
can simply mean misery, loneliness, the vanity of earthly things
can be an allusion to the ephemeral of life, beauty, the symbol of death, the Passion of Christ, corruption and venality ...
you can download my presentations at
http://www.authorstream.com/MyUploaded-Presentations
http://www.authorstream.com/Presentation/guimera-4815215-glasses-paintings/
Baroque Masters in the Museum of Fine Arts of Seville (2)guimera
Baroque is a perspective on life and is, at the same time, its expression through art.
The Seville school of this period is renowned for the genius of its artists, including Velázquez, Zurbarán, Murillo …
not surprising to find flies in the paintings ...
can simply mean misery, loneliness, the vanity of earthly things
can be an allusion to the ephemeral of life, beauty, the symbol of death, the Passion of Christ, corruption and venality ...
an almost sacred space, destined for the worship of art ...
room saturated with works of art and objects of curiosity, sometimes with allegorical content ...
Has been depicted
in mythological and religious paintings, in still life, vanities, allegories, in the genre painting.
From Caravaggio and Rubens to Millet, through Vermeer, Delacroix, Manet, Moreau …
Merry Christmas !
you can download my presentations at
http://www.authorstream.com/Presentation/guimera-4790695-nativity-western-painting/
http://www.authorstream.com/MyUploaded-Presentations/All
Niccolo dell'Arca Lament over Dead Christ, Bologna.Jerry Daperro
Sculptor of expressive and dramatic terracotta sculptures of early Renaissance by Niccolo Dell’Arcs.
“Niccolo dell.Arca (c1435-94). Eclectic sculptor of south Italian origin, active in Bologna from 1462 as a carver in marble and a modeller in terracotta. His ‘surname’ is derived from the tomb – arca – of St Dominic by Nicola Pisano, Bologna, San Domenica Maggiore, for which Niccolo carved a lid decorated with marble statuettes. His style here, as in his large Madonna di Piazza (1478, Bologna) demonstrates knowledge of both Burgundian and Tuscan sculpture. Niccolo’s masterpiece is universally acknowledged to be his dramatically expressive terracotta group of Lamentation, originally polychrome, anticipating the more placid terracotta groups of Guido Mazzoni. “ The Yale Dictionary of Art & Artists p495.
Teaching four art movements: Baroque, chiaroscuro, realism, idealism as the relate to Diego de Velazquez, the court painter to Philip IV of Spain, one of the main characters in the autobiographical novel, I, Juan de Pareja, by Elizabeth Borton de Trevino
Leonardo's painting - Who is Mona Lisa ver 2.0Jerry Daperro
Leonardo was born in or near the town of Vinci, about half way between Florence and Pisa, on 15 April 1452. He was the illegitimate son of a rising Florentine legal official Ser Piero da Vinci. He was good at drawing and was enrolled with the leading Florentine artist of Verrocchio in 1469, at the age of 17. Leonardo was probably the greatest artists of the Renaissance. His studies were strictly based in the scientific methods, on vigorous analysis and on objective reasoning. But it was his inquisitive mind that drove the man forever forward to understand our place in nature. According to art historian Helen Gardner, the scope and depth of his interests were without precedent in recorded history. Apart from portraits, religious themes and historical paintings, Leonardo’s greatest legacies were his notebooks and drawings. He influenced many of his contemporary artists, including Michelangelo Raphael, Giorgione and Bramante. Yet he always had a deep distrust of human society. “Alone you are all yourself.”
an almost sacred space, destined for the worship of art ...
room saturated with works of art and objects of curiosity, sometimes with allegorical content ...
Has been depicted
in mythological and religious paintings, in still life, vanities, allegories, in the genre painting.
From Caravaggio and Rubens to Millet, through Vermeer, Delacroix, Manet, Moreau …
Merry Christmas !
you can download my presentations at
http://www.authorstream.com/Presentation/guimera-4790695-nativity-western-painting/
http://www.authorstream.com/MyUploaded-Presentations/All
Niccolo dell'Arca Lament over Dead Christ, Bologna.Jerry Daperro
Sculptor of expressive and dramatic terracotta sculptures of early Renaissance by Niccolo Dell’Arcs.
“Niccolo dell.Arca (c1435-94). Eclectic sculptor of south Italian origin, active in Bologna from 1462 as a carver in marble and a modeller in terracotta. His ‘surname’ is derived from the tomb – arca – of St Dominic by Nicola Pisano, Bologna, San Domenica Maggiore, for which Niccolo carved a lid decorated with marble statuettes. His style here, as in his large Madonna di Piazza (1478, Bologna) demonstrates knowledge of both Burgundian and Tuscan sculpture. Niccolo’s masterpiece is universally acknowledged to be his dramatically expressive terracotta group of Lamentation, originally polychrome, anticipating the more placid terracotta groups of Guido Mazzoni. “ The Yale Dictionary of Art & Artists p495.
Teaching four art movements: Baroque, chiaroscuro, realism, idealism as the relate to Diego de Velazquez, the court painter to Philip IV of Spain, one of the main characters in the autobiographical novel, I, Juan de Pareja, by Elizabeth Borton de Trevino
Leonardo's painting - Who is Mona Lisa ver 2.0Jerry Daperro
Leonardo was born in or near the town of Vinci, about half way between Florence and Pisa, on 15 April 1452. He was the illegitimate son of a rising Florentine legal official Ser Piero da Vinci. He was good at drawing and was enrolled with the leading Florentine artist of Verrocchio in 1469, at the age of 17. Leonardo was probably the greatest artists of the Renaissance. His studies were strictly based in the scientific methods, on vigorous analysis and on objective reasoning. But it was his inquisitive mind that drove the man forever forward to understand our place in nature. According to art historian Helen Gardner, the scope and depth of his interests were without precedent in recorded history. Apart from portraits, religious themes and historical paintings, Leonardo’s greatest legacies were his notebooks and drawings. He influenced many of his contemporary artists, including Michelangelo Raphael, Giorgione and Bramante. Yet he always had a deep distrust of human society. “Alone you are all yourself.”
big and small, lined and soft, round and angular
of felt or velvet
adorned with fur, embroidery, gorgeous bird feathers, ribbons, stones according to the owner’s fortune
grands et petits, doublés et doux, ronds et angulaires,
en feutre ou en velours,
ornés de fourrure, broderies, plumes d'oiseaux magnifiques, de rubans, pierreries selon la fortune du propriétaire ...
Recognised as the most beautiful woman in the Mediterranean civilisations, hers was the face that launched a thousand ships and inspired the legends ...
Rückenfigur ... back figure in paintings.ppsxguimera
Wanderer above the Sea of Fog is perhaps the most iconic Rückenfigur in German Romantic painting …
Rückenfigur, the back-figure is a pictorial theme with significant power.
Rückenfigur ... back figure in paintings
Rückenfigur ... figure de dos dans la peinture.ppsxguimera
Le Voyageur contemplant une mer de nuages est probablement la Rückenfigur la plus emblématique de la peinture romantique allemande ...
Rückenfigur, la figure de dos est un thème pictural d'une grande puissance.
Panier en osier dans la peinture européenne.ppsxguimera
A été représenté
dans les peintures mythologiques et religieuses, les natures mortes, vanités, allégories, dans la peinture de genre.
Du Caravage et Rubens à Millet, en passant par Vermeer, Delacroix, Manet, Moreau ...
The Art of Rain_The beauty of rain in paintings..ppsxguimera
The beauty of rain in paintings.
expected or feared, delicate or stormy, metaphorical or very real, the rain has often entered the imagination of artists ...
L’art de la pluie_La beauté de la pluie dans la peinture..ppsxguimera
La beauté de la pluie dans la peinture.
espérée ou redoutée, fine ou orageuse, métaphorique ou bien réelle, la pluie s’est souvent invitée dans l’imaginaire des artistes ...
Medea and the beautiful Argonaut,
the first human Cain
Romulus and Remus nursed by the same she-wolf,
Vulcan who loves Venus who loves Mars
Eve and the Apple of the Tree of Temptation
and
the most human of emotions that inspired the painters
La jalousie dans la peinture européenne.ppsxguimera
Médée et le bel Argonaute,
le premier humain Caïn
Romulus et Remus nourris au sein de la même louve,
Vulcain qui aime Vénus qui aime Mars
Ève et la pomme de l'arbre de la tentation
et
la plus humaine des émotions qui a inspiré les peintres
créatures mi-hommes, mi-chevaux, habitant les forêts et les montagnes
violents et sauvages, avec une morale brutale, et un amour immodéré pour le vin et les femmes
Personnages de la mythologie grecque ....ppsxguimera
exceptionnels par leur intelligence, leur bravoure et leur force,
mais aussi parfois arrogants, fiers, prétentieux, vaniteux, vindicatifs et un peu infantiles ...
This tutorial offers a step-by-step guide on how to effectively use Pinterest. It covers the basics such as account creation and navigation, as well as advanced techniques including creating eye-catching pins and optimizing your profile. The tutorial also explores collaboration and networking on the platform. With visual illustrations and clear instructions, this tutorial will equip you with the skills to navigate Pinterest confidently and achieve your goals.
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
This document announces the winners of the 2024 Youth Poster Contest organized by MATFORCE. It lists the grand prize and age category winners for grades K-6, 7-12, and individual age groups from 5 years old to 18 years old.
Boudoir photography, a genre that captures intimate and sensual images of individuals, has experienced significant transformation over the years, particularly in New York City (NYC). Known for its diversity and vibrant arts scene, NYC has been a hub for the evolution of various art forms, including boudoir photography. This article delves into the historical background, cultural significance, technological advancements, and the contemporary landscape of boudoir photography in NYC.
Fashionista Chic Couture Maze & Coloring Adventures is a coloring and activity book filled with many maze games and coloring activities designed to delight and engage young fashion enthusiasts. Each page offers a unique blend of fashion-themed mazes and stylish illustrations to color, inspiring creativity and problem-solving skills in children.
6. The altarpiece of the high altar
In the last months of 1665 and for much of the following year, Murillo paints and positions the altarpiece of the high altar.
It was presided over by The Jubilee of the Porziuncola, surrounded by six works of devotional themes,
in addition to a St. Michael and an Guardian Angel.
The Virgin of the napkin and Holy Face, would be incorporated into the altarpiece in the 18th century.
The Annunciation and The Piety were located in the side altars of the presbytery.
8. The canvas of Saint Anthony of Padua with the Child formed a pair
with that of Saint Felix Cantalicius in the altarpiece of the Porziuncula.
The Child is standing on a book embracing the saint.
In larger format, the Child sits on a book surrounded by the saint’s arm.
…
Saint Anthony of Padua and Saint Felix of Cantalice are the only saints
that we find repeated in the cycle of Capuchins,
It is possible that, once the altarpiece was finished, it was decided to dedicate
a greater role to both saints.
Bartolomé Esteban Murillo
San Antonio de Padua y el Niño
Saint Antoine de Padoue et l’Enfant
Saint Anthony of Padua with the Child
1665-1666
Museo de Bellas Artes de Sevilla, Sevilla
9.
10.
11. The little one caresses the white beards of Saint Felix of Cantalice,
patron of the Capuchin Order, who holds him in his arms.
On a rock appears a white bag with breads, as an emblem of poverty.
In larger format, the Virgin appears to him and gives him the Child.
Bartolomé Esteban Murillo
San Félix de Cantalicio con el Niño
Saint Félix de Cantalice et l’Enfant
Saint Felix of Cantalice with the Child
1665-1666
Museo de Bellas Artes de Sevilla, Sevilla
12.
13.
14. Saint Justa and Saint Rufina
Saint Leander and Saint Bonaventure
15. This painting is one of Murillo’s most popular.
It depicts the saints holding the Giralda which according to tradition
prevented it from collapsing during the earthquake of 1503.
To the left Santa Justa, to the right Santa Rufina.
Both sisters were martyred in 287 during the Roman domination.
They were selling their pottery when a retinue appeared with the image
of the Babylonian goddess Salambo, demanding a donation.
Both refused, the followers smash their ceramic objects
and the saints break the statue.
As a consequence, they are imprisoned and tortured by the prefect Diogeniano.
According to tradition, the relics were deposited in the church
on which the Capuchin Convent was built.
Bartolomé Esteban Murillo
Santas Justa y Rufina
Sainte Juste et Sainte Rufine
Saint Justa and Saint Rufina
1665-1666
Museo de Bellas Artes de Sevilla, Sevilla
16.
17.
18.
19. Two great saints belonging to two different orders: Capuchins and Franciscans …
Saint Buenaventura (13th century) is one of the main Franciscan saints
and Saint Leandro (archbishop of Seville in the 6th century) was the founder
of the temple that was built on the site where the saints Justa and Rufina were martyred.
Saint Bonaventure appears with the model of a church in his hands,
which has been given to him by Saint Leander
and that can symbolize the construction of the Capuchin convent.
Saint. Bonaventure is depicted with tonsure on his head.
He wears the habit of his order and the red mozzetta that identifies him as a cardinal.
At the feet of Saint Leander, an angel holds the mitre.
Bartolomé Esteban Murillo
San Leandro y San Buenaventura
Saint Léandre et Saint Bonaventure
St Leander and St Bonaventure
1665-1668
Museo de Bellas Artes de Sevilla, Sevilla
23. Murillo's chiaroscuro …
Saint Joseph, majestic in a paternal, pensive attitude, seems to foreshadow
the tragic future of the Child;
the Christ Child on a ruined pedestal with lilies.
Bartolomé Esteban Murillo
San José y el Niño
Saint Joseph et l’Enfant
St Joseph and the Child
1665-1666
Museo de Bellas Artes de Sevilla, Sevilla
24.
25.
26. Against a landscape background, the figure of Saint John the Baptist appears
as an anchorite in the desert.
Standing and looking up to heaven as if asking God to carry out his mission
of announcing the Messiah.
He is dressed in a short camel-hair tunic and a red cloak,
symbol of his martyrdom.
In his hands he holds a cross with a phylactery bearing the inscription:
Ecce Agnus Dei (Behold the Lamb of God).
A lamb can be seen at the bottom, which is both a symbol of Saint John and of Christ.
Bartolomé Esteban Murillo
San Juan Bautista en el desierto
Saint Jean Baptiste
St John the Baptist
1665-1666
Museo de Bellas Artes de Sevilla, Sevilla
31. An emblematic work of the Spanish baroque.
Its name comes from the legends of the nineteenth century.
According to these, the painter painted on a napkin while working on the main altarpiece
of the Capuchin monastery.
Or, a monk had asked him to paint a Madonna and Child, and as he had no money
to buy a canvas, he gave him a napkin from the refectory.
We now know that the support of the painting is not the material from which napkins are
usually made, but a linen taffeta.
…
The table is very simple.
The Mother and Son look out a window and look at the viewer, she shows great serenity,
while the child is curious and full of grace.
Bartolomé Esteban Murillo
Virgen con Niño, Virgen de la servilleta
Vierge à l'enfant de la serviette
Madonna and Child of the Napkin
1665-1666
Museo de Bellas Artes de Sevilla, Sevilla
32.
33.
34.
35. It cannot be said that it was painted for the Capuchins, since no document refers to it,
although there is evidence of its presence in the convent since 1750.
At some point in its history, it was cut and adapted to an oval frame.
With great simplicity, Murillo managed to create a work of great expressiveness.
Bartolomé Esteban Murillo
Santa Faz
Sainte Face
The Holy Face
1665
Colección privada, cortesía de Ashmolean Museum, Oxford
38. The Virgin, kneeling and holding a book, looks at the archangel Gabriel.
The archangel carries in his hand lilies that symbolize the purity and virginity of Mary.
The white cloth in the small basket of labor is the prefiguration of the shroud.
Bartolomé Esteban Murillo
Anunciación
L’Annonciation
Annunciation
1665-1666
Museo de Bellas Artes de Sevilla, Sevilla
39.
40.
41. The upper part of this painting was cut off in the mid-19th century.
The Virgin Mary with gestures of pain has open arms.
On his lap, covered with the shroud, the body of the dead Christ;
one of the angels holds Jesus' hand.
Bartolomé Esteban Murillo
Piedad
La Piété
Pietà
1668-1669
Museo de Bellas Artes de Sevilla, Sevilla
46. Saint Michael the Archangel in a red cloak trampling on Lucifer.
Bartolomé Esteban Murillo
El arcángel san Miguel arroja al demonio al abismo
L'archange Michel lance le diable dans l'abîme.
Archangel Michael hurls the devil into the abyss
1665-1668
Kunsthistorisches Museum, Vienna
47.
48.
49. Painted by Murillo for the convent of the Capuchins in Seville, around 1665,
and given to Seville Cathedral in 1814 by the monks as thanks for having guarded
their artistic treasure during the Spanish War of Independence.
The Franciscans were very devoted to the Guardian Angel who accompanies every person,
every soul on the road to salvation.
...
Angel takes a child by the arm and directs the light that emerges from above.
The painting symbolizes the protection of the soul (child) that initiates the path of life.
Bartolomé Esteban Murillo
Ángel de la Guarda
L’Ange gardien
Guardian Angel
1665-1666
Catedral de Sevilla, Sevilla
50.
51.
52. The Jubilee of the Porziuncola
The main canvas presided over the altarpiece of the high altar until it was seized by Joseph Napoleon in 1810.
In 1815 it was returned to the Capuchins.
In 1898 it was sold and is now in the Wallraf-Richartz Museum in Cologne.
53. The chapel of Saint Mary of the Porziuncola of the Basilica of Saint. Mary of the Angels of Assisi ...
Christ and Our Lady appeared to Saint Francis in 1216 to grant the Jubilee
or indulgence to pilgrims visiting the chapel, emblematic for the Franciscans.
...
In the earthly part, St Francis prostrates himself before Jesus and his mother,
In the heavenly part, a whole host of angels and cherubim surround Jesus Christ,
holding the cross in his hand,
and Mary in a white tunic and blue mantle.
Bartolomé Esteban Murillo
El jubileo de la Porciúncula
Le jubilé de la Portioncule
The Jubilee of the Porziuncola
1665-1668
Wallraf-Richartz Museum, Cologne
54.
55.
56.
57. The lateral altarpieces
The works were put on hold until 1668, when Murillo began painting the lateral altarpieces of the nave of the church,
completed in 1669.
58. The simple, deep and austere devotion of the Capuchins to the Child God...
Saint Anthony of Padua, a Franciscan saint born in Lisbon in 1195,
when the Child Jesus appeared to him.
Kneeling on stony ground, he puts his arm around the Child, who is sitting on an open book.
The saint is dressed in the habit of the Franciscan Order, tied with a three knotted cord,
symbolizing the vows of chastity, poverty and obedience,
it carries a lily branch as a symbol of purity.
Bartolomé Esteban Murillo
San Antonio de Padua con el niño
Saint Antoine de Padoue et l’Enfant
Saint Anthony of Padua and the Child
1668-1669
Museo de Bellas Artes de Sevilla, Sevilla
59.
60.
61. «Qui non renunciat omnibus qui possidet non potes meus esse dicipulus» “
So therefore, any one of you who does not renounce all that he has cannot be my disciple.
Lucas 14:33
Murillo’s painting includes a vision of the saint in which he is transported
to the place where Jesus is crucified.
He rises to embrace his body, but Christ removes his hand from the cross
and places it tenderly on the saint's back.
This vision is related to the young Francis' desire to abandon his earthly possessions.
The globe symbolizes his contempt for the things of this world and for everything material.
Bartolomé Esteban Murillo
San Francisco abrazado a Cristo
Saint François embrassant le Christ
Saint Francis embracing Christ on the Cross
1668-1669
Museo de Bellas Artes de Sevilla, Sevilla
62.
63.
64. A demonic dragon powerless at the scene of Mary's glory ...
A moving image of Mary's Immaculate Conception as the new Eve,
triumphant and victorious over sin.
Bartolomé Esteban Murillo
Inmaculada del Padre Eterno
L’Immaculée Conception avec le Père Eternel
Immaculate Conception with the Eternal Father
1668-1669
Museo de Bellas Artes de Sevilla, Sevilla
65.
66.
67.
68.
69. Shepherds adoring the Christ Child ...
you can follow the different stages of life, from infancy to old age:
a child offering the hen, a young girl with her basket of eggs,
a shepherd carrying a lamb and an old man looking at the newborn.
In the center the Virgin Mary, Saint Joseph and the Child,
the ox
and
at the top angels between clouds.
Bartolomé Esteban Murillo
La adoración de los pastores
L’Adoration des pasteurs
Adoration of the Shepherds
1668-1669
Museo de Bellas Artes de Sevilla, Sevilla
70.
71.
72. Italian saint of the Capuchin order who lived in the 16th century
and who dedicated his life to the collection of alms for the poor.
In reward for this, the Virgin Mary appeared to him by placing the Child Jesus in her arms.
…
The saint kneeling, wears a frayed habit,
at
the bottom a sack of bread for the exercise of charity.
Bartolomé Esteban Murillo
San Felix de Cantalicio con la Virgen y el Niño
Saint Félix de Cantalice et l’Enfant
St Felix of Cantalicio with the Child
1668-1669
Museo de Bellas Artes de Sevilla, Sevilla
73.
74.
75.
76. One of the last Immaculate Conception paintings by Murillo ...
The adolescent face stands out for its beauty.
Mary, hands folded, stands on a cloud, with the moon at her feet,
dressed in a white tunic and blue mantle.
is surrounded by angels who, in the bottom part, carry Marian symbols.
Bartolomé Esteban Murillo
Inmaculada Concepción del coro, “la Niña”
Immaculée Conception du chœur, "la Niña"
Immaculate Conception of the choir, "the Niña"
1668-1669
Museo de Bellas Artes de Sevilla, Sevilla
77.
78.
79.
80. Saint Thomas was an Augustinian monk appointed by Charles V. Archbishop of Valencia in 1544.
His life was marked by his ardent charity.
…
The interior of a classicist religious building ...
The saint dressed in black habit, carrying the miter, the staff, and with a cross on his chest.
On a table are open sacred books that Saint Thomas has stopped reading,
to help beggars, sick and mutilated:
a half-naked cripple,
an old man kissing the coin he has just received,
an old woman with a face of distrust,
a child with ringworm,
a mother with her child
Bartolomé Esteban Murillo
Santo Tomás de Villanueva dando limosna a los pobres
Saint Thomas de Villeneuve donnant l’aumône aux pauvres
Saint Thomas of Villanueva giving alms to the poor
1668-1669
Museo de Bellas Artes de Sevilla, Sevilla
81.
82.
83.
84.
85.
86. o.esqsegues@gmail.com
Murillo y los Capuchinos de Sevilla
Murillo et les Capucins de Séville
Murillo and the Capuchins of Seville
images and text credit www.
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87. Like so many others by Murillo, these works respond to the spirit of the Catholic Reformation
and the desire to awaken the fervor of the believer through the contemplation of scenes that are at once divine and human.