In this lovely Annunciation Dutch Golden Age artist, Pieter Fransz. de Grebber, follows the standard imagery–except for two details.
Category Archives: M&G Collection Online
Scenes from The Annunciation: God the Father in a Glory of Angels, St. Gabriel the Archangel and The Virgin Annunciate
Oil on canvas
Francesco Montemezzano
Venetian, c.1540-after 1602
In museum collections, including the Museum & Gallery, there are paintings that were once part of a larger narrative, but now stand as individual works of art. These pieces, usually parts of large altarpieces, have been reduced in size for various reasons such as damage to the whole, for profit, or to fit a new arrangement. Very few that have been broken up have managed to stay together. Francesco Montemezzano’s The Annunciation is one of those lucky few.
At first glance in the galleries, you may notice a similar velvety color palette and free brushwork but may not realize they are one of a whole. If not for the close arrangement in display, one may not be able to see the full image. Originally in a horizontal format, the painting was altered sometime in the seventeenth century to fit a vertical, architectural enframement. Despite this physical cropping, we can still see the theme of the annunciation.
The annunciation is a common subject portrayed in Christian art. The moment is recorded in Luke 1:26-38 where Gabriel informs Mary that she will fulfill the prophecy of Isaiah 7:14 promising “a virgin shall conceive and bear a Son, and shall call His name Immanuel.” This theme became very popular in fifteenth-century altarpieces and were reinterpreted by artists throughout history such as Fra Angelico, Leonardo da Vinci, Botticelli, Caravaggio, Peter Paul Rubens, and John William Waterhouse. Each artist put their own spin on the theme, reflecting the stylistic ethos of the time and the artists’ own taste, but there are common elements.
Mary, Gabriel, and a dove are the main figures. Sometimes they are outside in an hortus conclusus or “enclosed garden,” and other times they are cloistered inside, symbolizing Mary’s chastity. Lilies are usually present, carried by Gabriel or somewhere in the composition, further emphasizing Mary’s purity as a virgin. Mary is commonly shown in prayer with a prayer book or missal kneeling at a prie-dieu. A dove or beam of light usually represents God’s blessing on Mary as His chosen handmaiden or the symbol of immaculate conception.
With this brief background, Montemezzano’s Annunciation stands out. We can see architectural elements throughout the three paintings and a possible garden behind Mary. Was this Montemezzano’s nod to the hortus conclusus? And where is the dove or beam of light that is often shown? Because of its fragmented state, we may never know exactly what the artist designed. However, Montemezzano did include one unique figure in this Annunciation—God the Father. Very few depictions of the annunciation include a physical God the Father, most only show his messenger Gabriel and the dove.
There are actually two other annunciation scenes in M&G’s collection that show God the Father in physical form (one found in galleries 4 and 10). Here, in Montemezzano’s work, God the Father is shown breaking through clouds and the architectural ceiling, symbolizing His passage into the earthly realm. Despite the unique inclusion of God the Father, His presence fits the annunciation theme perfectly. It is a foreshadowing of another part of the Trinity, Jesus, coming into our world to dwell with us as told by Matthew 1:23, “Behold, a virgin shall be with child, and shall bring forth a son, and they shall call his name Emmanuel, which being interpreted is, God with us.”
The Annunciation reminds us of promises fulfilled, how a Savior will dwell with us and come into this broken world to make us whole. While this painting will never have that opportunity to be truly whole again, we as believers are reminded of that promise for us this Christmas season.
KC Christmas Beach, M&G summer art educator
Published 2024
Christ and the Samaritan Woman
Bernardo Strozzi
Below the image, click play to listen.
The Return from the Flight into Egypt
Oil on canvas, c. 1712
Giuseppe Bartolomeo Chiari
Roman, 1654-1727
Rome was for centuries the epicenter of culture, art, and religion. At the time of Giuseppe Chiari’s birth, it was also “the scene of a lively debate with a constantly varying interplay of influences, trends, fashions, specialized treatises, and, of course, great masterpieces” (Zuffi, p. 64). At the center of this debate were three artistic movements that Zuffi notes “succeeded one another in a sort of ideal relay race of artistic styles.” The stark naturalism of Caravaggio, the elegant classicism of Annibale Carracci, and the dramatic baroque sculptures and architecture of Gian Lorenzo Bernini would all play a part in making 17th-century Rome—well, Rome!
As president of the Roman Academy Carlo Maratta was keenly aware of these lively debates. Considered one of the most important painters in the latter half of the 17th century, he was much admired for his beautiful frescos and stunning portraits. Although his work evidenced a clear admiration for the classical tradition, several of his paintings also integrated elements of Caravaggio’s vigorous style. David Steel points out that Maratta often “managed to steer a middle course between these two dominant and often contrary trends of baroque painting” (Steel, p. 88).
Maratta was at the summit of his career in 1666 when 12-year-old Giuseppe Chiari entered the great master’s studio. Chiari soon became a star pupil. Over the years, his profound respect for Maratta’s tutelage would not only shape his artistic development but also ensure his future success in a highly competitive environment. When Maratta died in 1713, Chiari took up Maratta’s mantle and became the dominant Roman artist.
Like Maratta, Chiari broadened his appeal by becoming an astute observer and deft practitioner of integrating stylistic trends. Kathrine and William Wallace highlight this skill in their comparative analysis of Chiari’s Tedallini altarpiece with Caravaggio’s Madonna dei Pellegrini [figs. 1 and 2]:
“The statuesque pose of Chiari’s Madonna, the unusually high step on which she stands, the elongated form of the Christ child framed by a white swaddling cloth, and the overall right-triangular composition recall Caravaggio’s Madonna dei Pellegrini. Yet the suggestion is subtle: Chiari has reversed the composition, naturalized the pose of the Virgin, and substituted the more palatable, well-dressed saints for the dirty feet and common character of Caravaggio’s pilgrims. Although inspired by Caravaggio, Chiari’s altarpiece remains distinctly his own. Chiari’s Madonna looks like a person of warm flesh and blood rather than the marmoreal statue of Caravaggio’s Madonna; Christ is an attractive child of sweet disposition as opposed to the enormous and ungainly figure depicted by the older master. Instead of the muted and earthy colors of the Madonna dei Pellegrini, Chiari’s bright hues are immediately pleasing and a welcome contrast to the comparatively dark paintings found on so many Roman altars” (p. 4).
The Return from the Flight into Egypt provides another example of Chiari’s virtuosity and unique style. Here, however, he turns from echoing the past to adumbrating the future. The refined handling of the paint and elegant figural poses pay homage to the classical tradition; however, the playfulness, delicate coloration, and ornamental enrichment mark the transition into the sensuous, intimate style of the rococo movement which emerged in France and spread throughout Europe in the 18th century (Chilvers, 507).
M&G has two works by Chiari on this subject, one titled The Rest on the Flight into Egypt and this rendering titled The Return from the Flight into Egypt. Over the years scholars have found the less traditional title of this 1712 work problematic. However, “the light-hearted, almost celebratory mood” (echoed in the Rococo style) reinforce the idea that here, Chiari intends to highlight the family’s return from rather than flight into Egypt. Regardless of the debate, art experts like Christopher Johns note that this picture may be the best example of Chiari’s work in America.
Donnalynn Hess, M&G Director of Education
Resources:
Baroque Paintings from the Bob Jones University Collection by David H. Steel
Concise Dictionary of Art and Artists, 3rd edition by Ian Chilvers
“Giuseppe Bartolomeo Chiari,” The Art Bulletin, March, 1968, Vol. 50, No. 1 by Bernhard Kerber and Franciscono Renate
“Seeing Chiari Clearly,” Artibus Et Historiae, 2012, Vol. 33, No. 66 by Katherine M. Wallace and William Wallace
Published 2024
Roelandt Savery’s lifelong interest in studying and painting exotic animals and topography made him one of the most imaginative artists of the late sixteenth-early seventeenth centuries.
Bust of Athena
Porcelain
Unknown Sculptor, after Paul Duboy
French, 1860-1880
M&G’s magnificent porcelain bust of a female warrior presents the viewer with two fascinating mysteries.
Who Crafted It?
The bust has no signature or manufacture’s marks. The base does, but documented provenance of the piece, which dates to the mid-twentieth century, reveals that the base is not original to the sculpture. Experts have examined M&G’s bust and place its manufacture in France between 1860 and 1880. At that time similar, elaborately dressed busts were popular, and the techniques needed to produce the richly colored glazes for the clothing and accessories while leaving smooth, lightly colored biscuit porcelain for the skin and various details had been perfected. The contrast between the solid, smooth, glossy sections and the soft, matte texture of the biscuit sections heightens the visual interest of works like these.
Paul Duboy (1830-1887), a French sculptor, exhibited his sculpture at the prestigious Paris Salon from 1853-1882. Duboy made and signed busts similar to M&G’s sculpture, which lacks his elaborate signature on its back. Yet, because of its similarity to his other works, authorities have suggested using “in the manner of” or “after” Paul Duboy.
Who Is This Female Warrior?
From the pantheon of candidates, the personification of the French Republic has been suggested. During the French Revolution, Marianne embodied the qualities valued by French citizens: liberty, equality, fraternity, and reason. M&G’s bust, however, lacks the Phrygian cap, laurel wreath or spiked diadem, and other visual symbols attributed to Marianne.
The Greek goddess Athena is a more likely candidate. Zeus, the chief Greek deity, was her father. Legend tells that Athena sprang full-grown from Zeus’s forehead dressed in complete Greek armor. As the goddess of war, Athena participated in the Trojan War and has generally been portrayed with a spear or bow and arrows. She was also the goddess of domestic handicrafts, animal husbandry, and wisdom. Generally, she used her wisdom to supply warriors with the tactics, strategy, and inspiration needed to defeat enemies. Animal symbols associated with Athena include the owl and snake, both representing wisdom (she also cursed Medusa with hair of snakes), and the horse referencing her teaching man how to tame the animal. While an unusual artistic reference, perhaps the horses on M&G’s helmet symbolize this lore. The eagle-winged dragon atop M&G’s helmet, however, has no known Athenian reference.
Another possible female warrior may be Minerva, the Roman version of Athena. The two share similar attributes, but the Roman goddess of war is usually depicted wearing an Attic helmet, which does not cover the face but often has ear guards, and may have decorative elements on top. Roman soldiers typically wore Attic helmets and variations were common after the fall of the Roman empire. M&G’s bust wears a greatly-modified and highly-decorated Attic helmet.
Virtually all artist renderings of both Athena and Minerva wear loose-fitting Greco-Roman garments, even when they wear armor. M&G’s bust is elaborately dressed and draped in the manner of many busts from the period of its manufacture. She also wears hints of decorative gold armor and a massive, ornate gold chain.
Some of the busts produced in this period are identified as famous individuals and with a name included on the sculpture. Most, however, are simply beautiful works of art with generic titles, not based on any specific individual. M&G’s bust may simply be a beautiful porcelain piece by an unknown, skilled artist depicting a female warrior.
The bust has presented more mysteries than answers. However, if you examine the piece closely you can be assured of two things: you will be impressed with its artistic quality and beauty, and you will gain a better understanding of the phrase “a porcelain complexion.”
Bill Pinkston, retired educator and M&G volunteer
Published 2024
The Coronation of the Virgin
Antonio Checchi (called Guidaccio da Imola)
Below the image, click play to listen.
Credenza
Walnut
Italian, 15th or 16th century
Gift of Paul W. Doll
In 1970, one of the Museum & Gallery’s primary early donors contributed this piece—a 15th-16th century carved walnut Credenza. As a furnishing, credenzas began as functioning sideboards, the top of which were meant for preparation and presentation of food. Long, low cabinets, often featuring drawers or doors for storing dishes and glasses, credenzas were often draped with expensive fabrics in wealthier homes.
Taken from medieval Latin, credenza means “belief” or “confidence” (sharing its derivation with our English word, “credence”). In our modern mindset, it is somewhat difficult to comprehend how the idea of “confidence” might have been wedded to a piece of wooden furniture, but it likely began as an association of the act of testing a noble’s food for poison.
Lest we discount such a probability, it’s helpful to understand the historical context. As far back as A.D. 1198, the Jewish doctor and philosopher Maimonides wrote a treatise on the subject for his employer, Sultan Saladin of Egypt and Syria. Maimonides gave detailed instruction, urging Saladin to insist his server or host eat a large portion of each dish before beginning to eat his own.
It seems unlikely to us that the need to test food could be so great, but historical examples may aid here. During the reign of Henry VIII in 16th-century England (the era in which M&G’s Credenza was constructed in Italy), the king employed some 200 persons in Hampton Court’s kitchens alone. While other European royalty and nobility may have employed smaller staffs, there was still ample opportunity for poisoning a ruler’s food. As servants delivered dishes to the dining room, they placed the dishes on the piece of furniture where credence tests for poisons were conducted, a literal credenza.
The face of M&G’s 16th-century walnut credenza was crafted of five solid boards, with overlay panels applied over each. Each of these panels is ornamented with detailed carving—four of these featuring profile busts of Renaissance figures (a technique called romayne). Each pair of these panels form doors, and the doors flank a fixed central panel carved with a grotesque mask. Hovering above the five front panels are three drawers, largely camouflaged by detailed fluted carving. The two end panels are simpler, each contain a distinctively Italian carved rosette and each lack the fluted frieze at the top. Along the front of the top plank are periodic dowel caps, indicating that the top is formed of smaller individual planks.
This style of carved Renaissance credenza is typical of both France and Italy, but individual elements indicate that this piece is most likely from Northern Italy, while still reflecting influences from the surrounding countries. Construction, materials, and ornamentation help to date the Credenza to the end of the 15th century to the middle of the 16th. Specifically, the detailed clothing of the men and women carved on the face of this credenza is like a Renaissance time capsule. The winged helmet worn by the first male (far left), for instance, depicts a sallet, a combat helmet which replaced the bascinet (helmet) in the mid-15th century. Later sallets dispensed with face protection and featured gracefully curved surfaces. These were preferred by more lightly armed troops and suggest that this credenza was built no earlier than about A.D. 1460.
Fascinating historic pieces such as M&G’s Credenza provide windows through which we understand the lives and culture of those who came before us and, in this case, an era upon which much of our modern Western civilization is built.
Dr. Stephen B. Jones, M&G volunteer
In this altarpiece featuring the Madonna and Christ child, the artist includes several details to embellish the scene, including a child playing a lute. Learn more about this popular Renaissance instrument HERE.
