Although little is known about the Italian artist Pietro Martire Neri, this portrait illustrates his stunning mastery of beautiful coloration and intricate stylistic detail.
Tag Archives: baroque
The Young Christ
Giovanni Battista Salvi, called Il Sassoferrato
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The Flight from Sodom
Oil on canvas, c. 1630
Matthias Stomer
Dutch, c. 1600–after 1649
Very little is known about the artistic training of Dutch master Matthias Stomer. His works have similarities to Gerrit van Honthorst and Abraham Janssens, both in M&G’s collection. He spent some time in Rome being influenced by Caravaggio as did many of his contemporary fellow artists. He seems to have settled in Sicily and painted many biblical subjects. Though some think M&G’s The Flight from Sodom is derivative of a Rubens’ work of the same title at the Ringling in Sarasota, Florida, Stomer simply tells the “rest of the story.”
Genesis 19 reveals that the escape of Lot and his family from Sodom has two stages. First, God warns Lot of the impending destruction of Sodom for its immorality and wickedness and tells him to gather his family and escape the fate of the city. Unfortunately, his efforts are rebuffed by his sons-in-law. The delay means he is still in the city at daybreak. Then he is commanded, “Escape for thy life; look not behind thee, neither stay thou in all the plain; escape to the mountain.” But in fear, Lot begs to escape to a “little” city nearby rather than the mountain of God’s dictum. God mercifully allows this change, saving Zoar from destruction for Lot’s sake.
Stomer paints the second part of the drama: Lot’s negotiating his escape into Zoar. Lot’s wife is near the back of the group, signifying her growing reluctance to leave. Her faraway gaze shows her preoccupation with the past. She will eventually look back and be turned into a pillar of salt as punishment. In the foreground the blond daughter carries a basket of gold household items and engages the audience with a direct gaze. Is she asking for sympathy? For approval of her father’s plan? She definitely challenges the viewer to contemplate the event. The other daughter, mostly hidden, carries a cloth bundle on her head. She gazes straight ahead, intent on escaping with her life.
Lot clutches his red robe to him. Is he facilitating his gait or visually showing his reluctance to leave by grasping the rich garment that indicates his prominence? His raised eyebrows indicate a question for the leading angel. His open left palm indicates that the question asked is reasonable, almost a “what about?” gesture. The lead angel looks astonished at the request, mirroring Lot’s hand position with one hand while pointing definitively forward with the other, as if to say, “You want to go there?” The second angel’s hand lies near his chin, like the professor’s “stroking his beard” as he considers a student’s idea. Lot suggests a change of plan, and the angels seem to have differing opinions on it.
It may be reading too much into the painting to see in the half-shaved little dog a lesson that Lot and his family are escaping by the “skin of their teeth.” However, the running dog has more sense than Lot who has dawdled at every turn of the story, even with his life at stake. Stomer’s background indicates that the family has taken all night to leave the city (Genesis 19:16 states that the angels had to “set him without the city”). The morning has come—the time when Lot finishes his “flight” since “the sun was risen upon the earth when Lot entered into Zoar” (19:23). Ironically, even Stomer doesn’t finish the story. Lot and his daughters eventually find Zoar inhospitable, and the evil that Lot dreaded “in the mountain” comes to pass.
Dr. Karen Rowe Jones, M&G board member
Special Note:
Scholars have discovered that Stomer used “Naples yellow,” a color created by combining antimony and lead. First mentioned in the late 17th century, Naples yellow appears in Stomer’s early work. Determining whether the blond daughter’s robe uses Naples yellow, might facilitate dating The Flight from Sodom within Stomer’s oeuvre.
Botticelli, Michela, Costanza Miliani, Eva Luna Ravan, Claudia Caliri, and Francesco Paolo Romano. 2024. “Naples Yellow Revisited: Insights into Trades and Use in 17th-Century Sicily from the Macro X-ray Fluorescence Scanning of Matthias Stomer’s ‘The Mocking of Christ’” Heritage 7, no. 3: 1188-1201. https://doi.org/10.3390/heritage7030057
Published 2024
The Body of Christ Prepared for Burial
Oil on canvas, signed and dated: .EQVS.IO.BAGLIONVS.RO.P.1616
Cavaliere Giovanni Baglione, called Il Sordo del Barozzo
Roman, c. 1566-1644
Giovanni Baglione was born, lived and died in Rome; although he received and completed art commissions elsewhere. He was an important artist in his day, even becoming President of the Roman Academy. He authored two books including The Lives of Painters, Sculptors, Architects and Engravers, active from 1572–1642, which has become a fundamental source for study of 17th-century Italian art of more than 200 artists, particularly in Rome.
Like many artists of the Baroque era, Baglione was influenced by the younger painter Michelangelo Merisi da Caravaggio. He sought to borrow and integrate Caravaggio’s naturalism and technique of dramatic light and shadow, which was quite novel. The two were in competition for commissions in Rome by the popes, nobles, and influentials.
Although incredibly talented, Caravaggio was arrogant and an angry, violent man. He expressed his hatred of Baglione through mockery and insults including his writing and circulating slanderous satirical poems criticizing him. In 1603, Baglione sued Caravaggio and three other painters (Orazio Gentileschi, Onorio Longhi, and Filippo Trisegni) for libel. According to the court records from the trial, Caravaggio said Baglione was no friend of his, and that he was not a good painter. Then he outlined his views in court about what a good painter was—“a man who can paint well and imitate nature well.” Essentially, in Caravaggio’s opinion, Baglione could do neither. In his book on the Lives, Baglione also shared his own view of Caravaggio saying, “he would speak badly of painters of the past, no matter how distinguished they were, because he thought that he alone had surpassed all other artists in his profession.”
Baglione’s most esteemed painting is in St. Peter’s Basilica in Rome, Peter Raising Tabitha from the Dead, for which he was made a Knight of the Order of Christ by Pope Paul V in 1606.
In spite of the bitterness between the two artists, Baglione produced a painting inspired by one of Caravaggio’s most renowned works—the Entombment in the Vatican Pinacoteca. If not the first, Baglione was one of the first artists to emulate Caravaggio’s revolutionary style, and he described his rival’s Entombment as Caravaggio’s best work. M&G’s The Body of Christ Prepared for Burial references some elements from Caravaggio’s work, such as the stone slab and highlighting and shadowing. M&G’s painting is not Baglione’s first version of the subject, which was finished in 1608—just five years after the libel lawsuit—as a commissioned altarpiece for the church of the Pio Monte della Misericordia in Naples.
However, eight years later he refined the composition into M&G’s version, which he signed and dated the lower right corner of the stone slab as Cavaliere Giovanni Baglione, revealing his knightly status.
It’s ironic, but art historians believe that Baglione’s best pictures are his most “Caravaggesque.” M&G’s treatment is a more classical interpretation of Caravaggio’s version. We’re uncertain of who commissioned the canvas, but it may have been an altarpiece because of its size of more than 7’ tall, the centrality of Christ’s body, and the details with the elements of the passion (crown and nails on the lower left).
Among other specialists, Edgar Peters Bowron describes M&G’s painting as one of his “noblest compositions and demonstrates how good he was in his maturity.”
Today, Baglione is most famous for his authorship of two important books: a guidebook about Roman churches and the volume of artist biographies. He is also remembered for his interactions with Caravaggio. Yet, he was an extremely accomplished artist and favored by popes; he also proved that he was able to learn and profit from other more talented artists.
M&G’s painting is a rare example of Baglione’s work in America and one of his most significant paintings. Dr. Stephen Pepper has described it as “the most important painting by Baglione in an American collection.”
Erin R. Jones, M&G Executive Director
Published 2024
The Presentation of Christ in the Temple
Jacob Jordaens
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Mother of Sorrows (Mater Dolorosa)
Oil on panel
Anthony van Dyck
Flemish, 1599–1641
Baroque art is characterized by its emotional pull. Sotheby’s defines the typical qualities of Baroque art as works with rich colors, strong contrast, luscious brushwork, and subject matter that provokes passion, awe, and reverence. This expressive art movement stemmed from a religious response in the seventeenth century called the Counter-Reformation. Art mimicked life in the emotional appeal for mankind’s souls; Biblical stories were taken beyond quiet, respectful meditation and became captured “moments” of heightened drama. Still, there are a handful of Baroque works in existence that balance this emotion with restrained contemplation. One of which is the Museum & Gallery’s Mother of Sorrows by Antony van Dyck.
Anthony van Dyck (1599-1641) is considered one of the great Flemish painters of the seventeenth century. A child prodigy, van Dyck became connected with another great Flemish artist, Peter Paul Rubens, and worked alongside the master on many important commissions. Van Dyck became known for his portraits, and his talent opened doors for him in many courts of Europe. With an extensive and prestigious curriculum vitae painting clients in all their luxury and refinement, van Dyck’s Mother of Sorrows is a unique contrast.
The Mother of Sorrows or Mater Dolorosa depicts Mary grieving her dead Son. It was developed from the theme of the Virgin of the Seven Sorrows, which showed each anguish she experienced after the birth of Christ. In the sixteenth century, Mary’s mourning was usually represented alongside Christ, the Man of Sorrows. However, by the late sixteenth and seventeenth centuries in Northern Europe, artists began depicting Mary alone against an undefined background to highlight the emotion of a bereaved mother. When this work was created circa 1625-1630, van Dyck had spent time in Italy and created many historic and religious works focused on main characters in their own narrative. Unlike Rubens, van Dyck did not clutter the canvas with various other characters or subject matter, instead focusing on the psychology of the main subject.
In M&G’s Mother of Sorrows, van Dyck explores the emotion of one of the world’s most famous mothers. Mary, the mother of Jesus Christ, stands alone against a dark background. The contrast is so great she seems to glow under the intense chiaroscuro. The rich blue fabric softens the stark white veil, but also stands as a symbolic reminder of Mary’s virginity and status as the mother of the King of Kings. While not overwhelming in emotion compared to other contemporary interpretations, one can tell she is hurting. She leans forward with arms raised as if pleading. There is pentimenti, or earlier painting that has been covered over by the artist. Just under Mary’s outstretched hand is a faint remnant of a previously lower hand positioning. Art historians such as Gustav Gluck and Ludwig Burchard both agree this was created by van Dyck. It is believed that van Dyck did not spend more than one hour on each portrait. This leads the viewer to wonder why the artist adjusted the hand’s placement. Perhaps a lowered hand did not express the right amount of grief. Or perhaps a more uplifted hand shows Mary’s reliance on God in her darkest hour.
This work may not hold the same prestige as other van Dyck paintings. In fact, until 1864, it had been rather unknown since it was relatively inaccessible in a collection in St. Petersburg, Russia. However, it is a beautiful and rare work in van Dyck’s oeuvre. Gluck and Burchard applauded van Dyck’s color (which was heavily influenced by his time in Venice), his hand forms, and his portrayal of deep emotion. Gluck wrote, “the expression of the grieving face—a depth of feeling which is rare to the master’s work,” is a testament to how unique this painting is for its time. Viewers can resonate with this strong emotional moment of a grieving mother and reflect on one of the darkest moments in history, while also knowing the story does not end there.
KC Christmas Beach, M&G summer art educator
Published 2023
Elijah Fed by the Ravens
Rafael Govertsz. Camphuysen
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