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Tag Archives: French art

Object of the Month: March 2026

St. Veronica

Oil on canvas

Claude Vignon

French, 1593-1670

The legend of St. Veronica is a tangled one. Whether she is based on a woman named Berenice, the woman with the issue of blood, or merely a weeping woman of Jerusalem, the important thing is that there is no Biblical foundation to her story. Veronica is said to be a widow who pitied the Savior and offered Him her veil to wipe His sweaty, bloodstained face. He accepted, and when He returned the veil, it bore His likeness.

In the world of art, her iconography includes the face-imprinted cloth, as in M&G’s painting by Claude Vignon. The religious have long sought relics of biblical personages. This veil with its miracle-produced image is considered the vera icon or “true image” to distinguish it from all other images of Christ. Over time the cloth became known as a veronica (also a sudarium) and the woman as “Veronica.”

Luke 23:28 states that Christ tells the mourning women following Him to Calvary, “Daughters of Jerusalem, weep not for me, but weep for yourselves, and for your children.” These are not the devoted Galilean women; these are women of Jerusalem who doubtless heard of or even participated in the mob cry, “Let his blood be upon us and our children” outside Pilate’s palace. Christ denies their pity for Himself; His death is a permanent payment for sin, but He will rise again. Instead, He confronts them with the consequences of their nation’s rejection of the Son of God (Luke 23:29-30). Whether He foretells the cruel Roman destruction of Jerusalem (A.D. 70) or the ultimate judgment of the earth when the Jews recognize fully their sin in rejecting Him (Revelation 6:16) or both destructions, Jesus’ words point up the irony that their sympathy should lie with the living, not the soon-dead, innocent One (the “green tree” in Luke 23:31).

Vignon painted another work with a veronica, this time with angels holding the cloth. It is intriguing to consider the variations of the face of Christ. M&G’s St. Veronica depicts a corpse-like appearance similar to a death mask with a face drained of color, eyes closed, and a marked lack of blood from both the crown of thorns and the soldiers’ abuse. It is clearly not a true image of Christ on His way to Calvary, though His blood loss must have been severe. However, the visage on the cloth that the two angels display is much more like the face the women saw—a man abused, yet fully aware. Why Vignon painted such different versions of the vera icon, aside from being ironic, is a mystery.

Two Angels Presenting the Holy Face, Claude Vignon
Musee des Beaux-Arts, Rouen, France

The vibrant colors and use of chiaroscuro suggest the influence of the Caravaggisti that Vignon encountered in Rome during his travels. The different coloring between these two works highlights the variety that is found in Vignon’s style in general and causes the viewer to understand the validity of one critic’s comment that “a wealth of hues plays a large part in the poetry of the work of Claude Vignon.”

He was employed by King Louis XIII as well as Cardinal Richelieu, commissions that speak to his skill and popularity. A man of varied talents (painter, etcher, and art salesman), Vignon drew together the influences of Mannerism, Colorism, Caravaggism, and even of Rembrandt and produced works that mark him as “one of the most important and most distinctive French painters of his generation.”

 

Dr. Karen Rowe Jones, M&G Board Member

 

Published 2026

Bust of an Unknown Saint

Bust of an Unknown Saint

France, 14th century

Below the image, click play to listen.

 

The Holy Family with St. John the Baptist: Michel Corneille, the Younger

In this beautifully tranquil scene, Michel Corneille includes a variety of traditional symbols highlighting Christ’s sacrifice for our sin.

Object of the Month: October 2024

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

 

 

Object of the Month: August 2024

The Visitation

Oil on canvas, signed and dated lower left: L. Boulogne le J.f. 1688 

Louis de Boullogne, the Younger

French, 1654-1733

Louis de Boullogne, the Younger is a second-generation French painter who with his brother studied at the French Academy and also in Rome. Unlike most other students, however, Boullogne later taught at the Paris Academy and then became its director. He went on to become First Painter to King Louis XIV. His work is known throughout France, especially at Versailles.

When one encounters a work of art, one often has a visceral reaction to some aspect of the work. No doubt the vibrant colors in The Visitation by Louis de Boullogne are a lovely invitation into an appreciation of the painting. In the mid-1800s, Charles George, the Commissaire-Expert of the Louvre, complimented the choice of color and even the “fresh and graceful” brushstrokes. But to really understand a work, one must know the subject matter; after all, the work is but a vehicle for the meaning.

The title refers to the visit of the Virgin Mary to her cousin Elizabeth shortly after Gabriel announced that God had chosen Mary to bear the Messiah (Luke 1). Elizabeth herself had also been the recipient of God’s grace. Mirroring Sarah and Abraham, Elizabeth and Zechariah (also Zacharias) were old and childless. But God sent Gabriel to meet Zechariah with a message of miraculous birth three months before the angel appeared to Mary.

To visit the one who can best sympathize with her situation, Mary travels nearly one hundred miles “in haste,” needing encouragement, for the public ordeal that will doubtless come from her pregnancy. Nazareth was a small town, and “bad” news always travels fast. As Mary greets Elizabeth, now openly six-months pregnant, the baby (John as he will be called) leaps “in her womb for joy.” This first meeting of the cousins—John the Baptist, the Way-Preparer and Christ the Messiah—foreshadows the joy of their partnership in turning the hearts of Israel toward God.

Both mothers have crucial roles to play in the redemption story. Though Elizabeth is the elder and Mary the visitor, Boullogne places the characters on the same step of the house. Their mirrored poses—clasped right hands and left hands placed on one another’s shoulders—show their equality as well. Both mothers are handmaidens of the Lord, being the fulfillment of Isaiah’s prophecies. This certainty of God’s hand upon them gives both women the strength they need to endure the whispers and stares of their community.

Elizabeth’s response to Mary’s unrecorded greeting, wondering that “the mother of my Lord” would come to visit her and blessing Mary and the “fruit of her womb” prompts Mary’s own praise of “God [her] Savior.” Both Mary and Elizabeth know their place in the redemption story—recipients of the Messiah’s saving work.

Possibly influenced by the school of Carlo Maratta, Boullogne chose colors and brushstrokes to make this a winsome and charming portrayal of two godly women. Zechariah as the elder forerunner is thus placed superior to Christ on the steps, yet his son John’s fame and ministry will decrease as the Messiah Himself rises in prominence. Joseph’s presence is not noted in the biblical text, which is an appropriate omission for this first-recorded recognition of the Son of God by those He came to save.

 

Dr. Karen Rowe Jones, M&G board member

 

Published 2024

 

Object of the Month: October 2023

Scenes from the Apocalypse

Oil on panel

Unknown French, mid-16th century

These M&G panels are painted sections from a winged altarpiece, positioned on, above, or behind the church’s altar. The wings or hinged doors would be opened for liturgical feasts and events. When the wings were closed, the side facing the audience was often painted in monochrome colors depicting various saints’ lives; as the wings were opened, the interior (including the other side of the doors) revealed more colorful pictures with a large feature painting in the center.

The Scenes from the Apocalypse by an unknown 16th-century French artist illustrates the medieval tradition of the Signs of the Apocalypse (drawn from Mark 13 and Revelation). These five separate panels were once joined in a single winged altarpiece with a total of fourteen or fifteen panels detailing the Signs and with the central interior panel possibly featuring the Last Judgment. Viewing these works from left to right,

  • Panel 1 is the Third Sign: sea monsters that ravage the seas.
  • Panel 2 is the reverse of Panel 1, being once united as a single panel.
  • Panel 3 is the Second Sign: the seas disappearing into the earth.
  • Panel 4 is the reverse of Panel 5, being once united as a single panel.
  • Panel 5 is the Fourth Sign: the burning of the seas and rivers.

Two ideas are fundamental to understanding this altarpiece. First, these panels illustrate the Word of God. According to Pope Gregory the Great (lived c.540-604), “Illiterate men can contemplate in the lines of a picture what they cannot learn by means of the written word.” Seeing the horrors of the End Times should motivate the viewer to take action to avoid them. These panels become visual conviction.

The Bible portrays man’s sinfulness and presents the atoning work of Christ as the remedy. The panels’ subject matter confronts the viewer with the penalty for sin even before the Last Judgment arrives. Juxtaposing these panels directly with the altar argues that Christ’s sacrificial death on the cross, accepted by God the Father as payment for man’s sin and ratified by Christ’s resurrection from the dead, is man’s rescue from the Apocalypse. In view of these coming events, the physical placement of these panels prompts the viewer to appropriate for himself Christ’s sacrifice.

Secondly, the reverse of the panels—scenes from the lives of Old and New Testament figures—argues for the ability of humans to react properly to the revelation of God’s Word.

  • Panel 2 references the conversion of Saul of Tarsus when confronted with the crucified Christ. The presence of the Holy Spirit as the dove and the holding of the slain Christ by God the Father clearly teaches the unity of the Trinity: Saul’s persecution of followers of Christ is persecution of the God that his pharisaical upbringing revered. The panel directly challenges the viewer to answer the Trinity in the same way Saul did: “What would you have me to do, Lord?”
  • Panel 4 is the Woman Clothed with the Sun. She is labeled in the Revelation as a sign (12:1), but not included in the medieval list of signs. The artist portrays the Woman just as the Scripture does: “clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars.” Though many critics identify this Woman as the Virgin Mary, a continued reading of the biblical text—and a careful examination of the panel—shows that this Woman symbolizes the nation Israel whose annihilation the Dragon seeks in the Last Days. Note the dragon tail just visible at the bottom of the panel. The Jewish child is Christ who escapes the Dragon. But “the woman fled into the wilderness, where she hath a place prepared of God that they should feed her there a thousand two hundred and threescore days” (12:6). Mary is not present at the end of the world, but the nation that brought forth the Messiah is. This panel, too, points to Christ as the provision of salvation from destruction of the Last Days.

Like the Pricke of Conscience, a series of stained-glass windows also based on the Signs of the Last Days, M&G’s panels challenge the viewer to consider the Apocalypse from a personal point of view.

 

Dr. Karen Rowe Jones, M&G board member

 

Published 2023

Jacopo de Carolis

Madonna and Child with Angels

Jacopo de Carolis

Below the image, click play to listen.

Picture Books of the Past: Gustave Doré

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.

Gustave Doré was a prolific painter, illustrator, engraver, and sculptor. He published his first drawings at age 15 and went on to become the most sought-after illustrator of the mid-19th century.

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: 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

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