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Tag Archives: baroque art

Object of the Month: February 2023

Pentecost

Oil on canvas

Charles Le Brun

French, 1619–1690

Though perhaps not as well known today, the fame of this French artist outlasted his years for at least a century, if not longer. Charles Le Brun was born February 24, 1619 and died twelve days before his 72nd birthday in 1690.

Le Brun was recognized for his prodigious talent at only 11 years of age, when he was noticed by the Chancellor of France, Louis Seguier. The Chancellor connected Charles with Simon Vouet, one of France’s most important painters of the seventeenth century (and also represented in M&G’s collection by two works, King David Playing the Harp and Salome with the Head of John the Baptist). He furthered his artistic study in Rome under fellow countryman Nicolas Poussin, developing a more classical Baroque style.

Charles had the skill and opportunities to develop political connections with French nobility and royalty, earning commissions and support from the most powerful of the French court. He was one of the twelve founding directors of the French Royal Academy of Painting and Sculpture, accepting leadership of it under the Sun King, Louis XIV and his powerful advisor, First Minister of State Jean-Baptiste Colbert. Unfortunately, as Charles’ successes increased, he snubbed his teacher Vouet, excluding him from involvement in the academy.

Le Brun’s influence and administrative ability enabled him to direct and determine the style of painting and design from a royal perspective. His texts, theories, and styles would be followed for at least a century. He is credited with making Paris the center of the art world, eclipsing the position first held by Rome. Many other works for which he was responsible as either artist or director are found in the great edifices of Versailles and Vaux-le-Vicomte.

Acquired in 1965, M&G’s Pentecost is a modello or final color study for a large altarpiece of the same subject Le Brun painted for the chapel of the seminary of St. Sulpice (now St Honoré-d’Eylau) in Paris. Engraved copies exist and attest to Le Brun’s ability and popularity. On the middle left, the figure looking out at the viewer is none other than the artist himself—Charles Le Brun, around 37 years old and in the prime of his career. By including himself in this occasion, he not only reveals himself as the artist but also as a disciple inviting the viewer to participate in the event. Le Brun transported the believers and the spectators of the painting to a classical architectural representation of the upper room for the place of the Spirit’s descent.

Christ told His disciples to stay in Jerusalem until the Comforter or the Holy Spirit came. Acts 2 gives account of the fulfillment of Christ’s promise. The coming of the Spirit was the source of comfort and power for the early church to successfully carry out the work that Christ commissioned them to do in Matthew 28:18-20. Pentecost was not only a Jewish feast in the Old Testament, but it was the beginning of the Holy Spirit’s work that continues today. It was more than a historical event. True believers today are also indwelt by the same Spirit and commanded to be Spirit-filled as the apostle Paul wrote in Ephesians 5:18.

As you consider this painting and Le Brun’s invitation, may you also remember his February birthday and the wonderful truths of God’s Word that the Comforter has indeed come. “But the Comforter, which is the Holy Ghost, whom the Father will send in my name, he shall teach you all things, and bring all things to your remembrance, whatsoever I have said unto you” John 14:26.

 

John Good

M&G volunteer and former M&G docent and Security Manager

 

 

Published 2023

 

Object of the Month: December 2022

The Virgin Annunciate and The Archangel Gabriel

Oil on canvas, Monogrammed: AV (lower left)

Andrea Vaccaro

Neapolitan, c 1605-1670

Andrea Vaccaro initially trained with the mannerist artist Girolamo Imparato, but was influenced by several other prominent artists of the time: Stanzione, Reni, Ribera, and van Dyck as well as the early Neapolitan Caravaggisti. During his lifetime he was in demand for church altarpieces, public works, and private commissions by the wealthy. According to historian Anna Kiyomi Tuck-Scala, he was elected “first prefetto of the renewed Corporation of Painters” in Naples in 1665, making “him a model religious painter of the period.”

Vaccaro’s pendant paintings portray the moment that the angel Gabriel announces that God has chosen Mary to be the Messiah’s earthly mother, a role that had been aspired to by countless Jewish maidens since the Fall of Man. Traditionally addressed by Gabriel in her bedchamber, Mary is usually reading Scripture, doing needlework. The angel often brings white lilies, signifying Mary’s purity.

Here Vaccaro instead focuses on the two actors. Since the Messiah is God’s Son come to earth to redeem humanity through His life, death, and resurrection, Vaccaro presents His mother as both exquisitely beautiful and devout. The sculptural smoothness of her face and neck, the delicate skin tones and the rich jewel colors of her attire combine to portray her as the ideal daughter of Israel. Though her upraised left hand betrays her startlement, her face remains serene. Being found at her devotions shows a spirit as lovely as her figure. Perhaps she is reading the book of Isaiah where the prophecy of the Messiah’s coming is given? Gabriel’s reverent facial expression reveals him to be cognizant of his role—and his news.

While the figures are on separate canvases, the single light source and the chiaroscuro so associated with Caravaggio unite them in submission to God’s will: he as messenger, Mary as handmaid of the Lord. The earthly and heavenly come together, pre-figuring the Incarnation itself.

Similar works are also attributed to Vaccaro. The Ackland Art Museum at Chapel Hill has a more “standard” Gabriel who holds a stalk of lilies. His hands are the long-fingered Mannerist hands of Vaccaro’s early training. Artnet’s version of Mary’s portrait appears to use the same model as M&G’s, but the addition of the neck drape on M&G’s Mary creates a more elegant, idealized portrait.

The treatment of both Marys’ hands is intriguing. The left hands are similarly posed, but the right hand of Mary in the M&G’s collection (see above) is much fleshier, contrasting with the elongated fingers of the left. According to Riccardo Lattuada, Vaccaro used his monogram (clearly seen on Mary’s book) only during his “first mature stage, 1636-1640.” Perhaps the contrasting hands indicate the artist’s transition from his mannerist roots. If as Marchesa Vittoria Colonna suggests that “contemplation of religious paintings . . .  encourage[s] meditation on the kingdom of heaven,” these companion works by Vaccaro indeed picture a beautiful moment in the history of the world—and of eternity—to ponder.

 

Dr. Karen Rowe Jones, M&G Board Member & volunteer

 

Sources Cited:

Marchesa Vittoria Colonna, Marchesa Vittoria. The Bob Jones University Collection of Religious Paintings, 1962.

Lattuada, Riccardo. “Andrea Vaccaro’s David and an Outline of Vaccaro’s Early Career,” MUSE. 2017, vol. 51, pp. 45-69.

Tuck-Scala, Anna Kiyomi. “The Documented Paintings and Life of Andrea Vaccaro (1604-1670),” 2003.

 

Published 2022

Picture Books of the Past: Pieter Fransz. de Grebber

Enjoy this series of segments highlighting Picture Books of the Past: Reading Old Master Paintings, a loan exhibition of 60+ works from the M&G collection. The exhibit has traveled to The Museum of the Bible in Washington, D.C. and the Orlando Museum of Art in Florida.

This intimate, interior setting highlights the wonder of beholding the child whose birth inspired angels to break through the heavens with the news. The dramatic lighting, eye-level viewpoint, and “crowding in” of characters provide an informal portrait of familial love.

Denys Calvaert, called Dionisio Fiammingo

St. Francis Receiving the Christ Child from the Virgin

Denys Calvaert, called Dionisio Fiammingo

Below the image, click play to listen.

 

 

Mario Balassi

St. Margaret

Mario Balassi

Below the image, click play to listen.

 

Object of the Month: September 2022

Esther before Ahasuerus

Oil on canvas, c. 1624

Claude Vignon

French, 1593–1670

Vibrant reds. Golden yellows. Burnt oranges. These colors typically signal the arrival of autumn, but French artist, Claude Vignon, used them to bring to life a scene in the story of Esther. Vignon was born in Tours, France on May 19, 1593, to a wealthy family. His father served as a valet to King Henry IV of France. Claude’s earliest training was probably in Paris in the workshop of Georges Lallemand where he learned the mannerist style. He eventually traveled to and spent time in both Italy and Spain. These travels exposed him to the works of the great artists Caravaggio, Guercino, Reni, and Caracci. He also joined the French community of painters in Italy who followed Caravaggio such as Simon Vouet and Valentin de Boulogne.

Upon returning to France, he became a member of the Painter’s Guild in Paris and received patronage from King Louis XIII and Cardinal Richelieu. This patronage boosted his career and earned him respect and success as an artist. He also dabbled in printmaking, etching, and illustration as well as working as an art dealer and art expert for notable clients including Marie de’Medici. His work in a variety of mediums as well as his art expertise earned him admission into the French Royal Academy of Painting and Sculpture in 1651. Three of his children continued his legacy studying in his workshop: Claude-François, Philippe, and his daughter, Charlotte (who focused solely on still life and was also admitted to the Academy). His eclectic work demonstrates a wide array of influences such as mannerism, Venetian, Dutch, and German making it difficult to describe or define his style.

In 1624, Vignon painted Solomon and the Queen of Sheba now in the Louvre. This painting bears a striking resemblance to M&G’s Esther before Ahasuerus. The common compositions feature a king on a richly embellished throne to the far left of the painting. In the center, a beautifully adorned queen approaches the throne. Behind the queen and off to the right are several servants, guards, and pages. Vignon used this composition numerous times for various paintings including both M&G’s and the Louvre’s as well as Saint Catherine Refusing to Sacrifice to Idols, and his Adoration of the Magi (though in this painting, he reverses the scene by placing the infant king on the far right side of the painting). It is likely that Esther before Ahasuerus was also painted around 1624.

The scene depicted here by Vignon comes from the fifth chapter of the book of Esther. Through a series of events outlined at the beginning of the book, Esther, a Jewess, is selected by King Ahasuerus to be the new queen of Persia. The name Esther means “hidden or concealed” and is fitting as her cousin Mordecai advised her to keep her background secret. One of the king’s officials, Haman, hated the Jews and deceived Ahasuerus into ordering the annihilation of the Jewish people in the Persian empire which would include Queen Esther. Mordecai pleaded with Esther to go to the king to plead for mercy. However, Esther was afraid. In Persian culture, to appear before the king without being summoned could mean death unless the king held out his golden scepter. After much prayer and fasting, Esther chose to risk her life to save her people from destruction.

Vignon captures the moment where Esther humbly and courageously kneels before the king. The king in turn holds out his scepter to Esther granting his favor. Vignon’s use of vibrant, heavily saturated colors shows his Venetian influence. He excelled at painting textiles, gold and precious stones which are abundant throughout this work in which the gold especially glimmers off the canvas. The clothing he used in the scene displays 17th-century European fashion rather than 4th-century Persian garments. Vignon’s color palette and brushstrokes reveal the intensity of this pivotal moment in Esther’s life. To find out how the story ends, read Jan Victors’ Esther Accusing Haman.

 

Rebekah Cobb, M&G Registrar

 

Published 2022

Picture Books of the Past: Antonio del Castillo y Saavedra

Enjoy this series of segments highlighting Picture Books of the Past: Reading Old Master Paintings, a loan exhibition of 60+ works from the M&G collection. The exhibit has traveled to The Museum of the Bible in Washington, D. C. and the Orlando Museum of Art in Florida.

Did you ever wonder why Old Master portraits of St. John the Baptist include an elegant red drape over his traditional animal skin garment?  View the video to explore this question.

Picture Books of the Past: Carlo Dolci

Enjoy this series of segments highlighting Picture Books of the Past: Reading Old Master Paintings, a loan exhibition of 60+ works from the M&G collection. The exhibit has traveled to The Museum of the Bible in Washington, D. C. and the Orlando Museum of Art in Florida.

Take a closer look at M&G’s Madonna and Child by sensitive painter Carlo Dolci, noting how Dolci uses color to identify characters and to highlight their graces.

Object of the Month: July 2022

King David Playing the Harp

Oil on canvas, c. 1630s

Simon Vouet

French, 1590-1649

 

The creator of this moving portrait of King David is Simon Vouet, one of the most influential French Baroque masters. He was the son of painter Laurent Vouet. Although little is known of the elder Vouet’s work, Simon’s oeuvre is well documented, for his prodigious talent emerged at an early age. At 14 he was sent to England to work as a portraitist. Then in his early twenties he moved to Constantinople where he spent two years before traveling to Venice and finally settling in Rome. Vouet’s career flourished in Italy. During this time, he received numerous prestigious commissions, and in 1624 he became president of Rome’s renowned Accademia di San Luca.

In 1626 he married Italian artist Virginia Vezzi who was regarded as one of Italy’s best miniaturists. The painting to the right (perhaps a self-portrait) is attributed to her. A year after their marriage, the couple returned to France at the request of Louis XIII who promptly appointed Simon official court painter. Vouet became a dominating force in Paris. He was so prolific that it is difficult to create a clear timeline of all the altarpieces, mythological, and devotional works he produced. As one biographer noted, Vouet was a natural academic who studied and absorbed everything in his environment, from the rich color palette of Veronese to the dramatic lighting effects of Caravaggio.

King David, the subject of this portrait, was one of Israel’s most gifted (and complex) kings. He is unique among Old Testament figures by virtue of the fact that he is “fully known.” His remarkable biography is well documented in I and II Samuel, but it is his innermost thoughts revealed through his more than 70 lyric poems (or psalms) that render him most lifelike. Here we come to know “the man after God’s own heart” who despite this intimate relationship with God sins egregiously. Vouet’s masterful technique powerfully captures the complexity of David’s personality.

Although initially captivated by the dramatic naturalism of the Italian Caravaggisti, by the time Vouet returned to Paris, he had integrated classical elements into his painting style. For example, in this portrait the dramatic compositional line and naturalistic portrayal of the aging King is offset by the figure’s classical pose and the diffused (rather than stark) lighting. This stylistic integration of the dramatic and restrained is well-suited to the dualism of the portrait’s iconography.

Color symbolism was prevalent in 16th-century religious art, and often a single color would have more than one meaning. Here, Vouet uses vibrant red and yellow gold fabrics not only to accentuate David’s kingly wealth but also to insinuate the frailty of his nature. In religious iconography, red can symbolize both love and hate, yellow gold sacredness or treachery. All of these qualities are interwoven into David’s complicated history and readily acknowledged by him in his Psalms. In addition, Vouet masterfully captures the emotional depth of “Israel’s singer of songs”(II Samuel 23:1). Notice the intricate detail in the weathered face and hands; notice, too, the tear in the psalmist’s eye as he gazes heavenward and prays. It’s as if we hear him plead: “Hear my prayer, O Lord, and give ear unto my cry; hold not thy peace at my tears: for I am a stranger with thee, and a sojourner, as all my fathers were” (Psalm 39:12). It is not surprising that the harp, David’s attribute, has come to symbolize not just the Psalms but all songs and music created to honor God.

Donnalynn Hess, Director of Education

 

Published 2022

 

Object of the Month: June 2022

The Rest on the Flight into Egypt

Oil on canvas

Giuseppe Bartolomeo Chiari

Roman, 1654–1727

Giuseppe Bartolomeo Chiari was born in Italy in 1654. Scholars still dispute Chiari’s origins with some believing he was born in Lucca and others Rome. With encouragement from his mother, Chiari learned the foundations of painting around the age of 10 from Carlo Antonio Galliani. He moved on at the age of 12 to study under the well-known Carlo Maratta, who drew inspiration from the classical style of Raphael and the Renaissance. Chiari’s earliest documented work, Venus with a Hermit, was dated 1675. Sadly, the work is lost.

Chiari was active in the late-Baroque period. His body of work displays the characteristics of both the High Baroque style as well as the Rococo which is reflected in his color choices. His paintings exhibit the influences of Annibale Carracci, Guido Reni, Cortona, and Andrea Sacchi. While he clearly drew inspiration from his predecessors, he took those ideas and transformed them into his own. His early commissions consisted of frescoes for various churches and chapels in Italy, and he also helped prepare cartoons for mosaics that would later be installed in St. Peter’s Basilica. Perhaps his most important client was Pope Clement XI who commissioned Chiari to paint St. Clement, the pope’s patron saint, most likely for the Basilica San Clementi. This led to an ongoing patronage by the Albani family (of whom the pope was a member). He also served as the director of the Academy of St. Luke from 1723-1725.

The landscape and composition of M&G’s Rest on the Flight into Egypt show similarities to both Chiari’s Christ and the Samaritan Woman and Adoration of the Magi. In this scene, Mary and Christ are seated on a plant-carpeted rock beneath the shade of a palm tree. Mary (wearing her signature colors of red and blue) wraps a comforting and supporting arm around Christ while holding a book in her opposite hand. Christ reaches out to obtain some of the fruit foraged and offered by Joseph. Several putti arrange the palm branches to provide the maximum amount of shade to cool the weary travelers. Another putto dangles from the left of the tree passing dates to be put in the basket held by the two below him, and a young angel kneels in front of the Holy Family offering a jar of water from the small brook at Mary’s feet. To the right of Joseph in the background, two angels appear deep in conversation as they tend to the donkey.

Chiari nods to his possible birth city through the Romanesque architecture in the distant town. Chiari’s work beautifully illustrates a scene of refreshment and reminds the viewers that even the Holy Family too needs time to rest and refuel.

M&G’s painting has an interesting provenance as it was once owned by the Earls of Dunraven from Adare County in Limerick, Ireland and possibly displayed in the family’s Clearwell Castle in Gloucestershire, England. It was probably in the collection at Adare Manor, principal home of the earls until the manor’s sale by the 7th Earl of Dunraven in 1982 to a family from Florida. Today, it is a luxury hotel. M&G’s painting was purchased in a 1982 Christie’s auction by renowned art dealer, Julius Weitzner. Dr. Bob Jones, Jr., a close friend of Weitzner, was able to acquire the painting for the Museum & Gallery where today it serves as a beautiful representation of Roman Baroque painting.

Rebekah Cobb, M&G Registrar

 

Published 2022

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