Click on the images below to enjoy a focused selection of short video clips featuring M&G paintings depicting the Easter story.
Tag Archives: M&G collection
ArtBreak: The Mysterious World of Old Masters
Whether you like delving into forensic evidence or prefer observing the patterns of human behavior these lectures are designed to awaken the sleuth in you. Referencing M&G’s collection, we’ll explore some of the “mysteries” of the art world—from the creative to the criminal.
Presented by M&G members, Glenn and Joyce Bridges and with additional support from M&G members, Scott and Kathy Hoster.
Dates: 3rd Tuesdays at Noon, during academic year
Location: The Davis Room, Dixon-McKenzie Dining Common on the campus of Bob Jones University
Parking: reserved spaces will be available in M&G’s parking lot.
Note: AVI Fresh Catering will provide a Deli Bar with the following spread: sliced oven-roasted turkey, roasted beef, and ham, and tuna; a cheese and relish tray; a variety of baked breads and rolls, two green salads, chips, assorted cookies, and beverages.
Cost:
- Member without lunch: FREE
- Member with lunch: $17.00
- Non-member without lunch: $6.00
- Non-member with lunch: $19.00
Registration: Click on the dates below to register.
Spring Lectures:
February 17: Gathering Clues
Conservation encompasses both the restoration and preservation of a collection. This week, conservator William P. Brown, a leader in the field of art preservation and an expert in the treatment of Old Master paintings, will share the artistic, creative, analytical, and problem-solving skills he uses in this fascinating “investigative” work.
March 17: What Lies Beneath
Register for lunch by Noon on Friday, March 6.
Why do artists abandon a work in progress, paint over a previous image or alter their original composition? The reasons are sometimes financial, artistic, political, or simply unknown. With a special focus on Florentine painter Andrea del Sarto, Dr. Nelda Damiano, the Pierre Daura Curator of European Art at the Georgia Museum of Art, will look at what has been uncovered about his artistic process and what remains a mystery.
April 21: Art of the Con vs. Art as Business
Register soon–there are a few lunches left!
Forgery is a process, not just of imitation, but of deception. It’s in the art of the con—the ability to manipulate others for personal and material gain. This week, M&G Director of Education Donnalynn Hess and Executive Director Erin Jones will zero in on the 20th-century’s most notorious forger. We’ll also explore how the business of art serves not only to authenticate the legitimate value of a masterwork but also to unmask “the art of the con.”
Sarah Taken to Pharoah’s House
Oil on canvas
Guillaume Courtois, called Il Borgognone
French (active in Italy), 1628-1679
There is little definitive documentation on Guillaume Courtois, the French painter of this vibrant High Baroque painting. We do know that he came from a family of painters; thus, his earliest training may have been under his father Jean-Pierre Courtois. Around 1636, however, Guillaume and his teenage brother Jacques left France (which had been devastated by the Thirty Years’ War) for Italy. According to some sources they spent time in Bologna, Florence, and Siena before settling in Rome in 1638.
At this time, artists were “pouring in from all over Europe to settle in the city [of Rome]. They all came to learn. Few came with prestigious contracts or appointments in their pockets. Most of them relied for work on the support of the most firmly established national communities (the French, the Dutch, and the Flemish). It was a disconcertingly, rich human panorama that offered an unprecedented opportunity for meetings, exchanges of opinion, and parallel developments of styles” (Zuffi, p. 64). In this eclectic environment both brothers flourished. Jacques went on to become a popular battle-scene painter, Guillaume a painter of religious and mythological scenes.
During his first few years in Rome, Guillaume devoted himself to studying and copying the works of prominent Roman artists like Giovanni Lanfranco and Andrea Sacchi. There is no record of his ever being trained by a specific master; though several historians suggest that he may have been a pupil of Pietro da Cortona in the 1650s. Others reject that claim. Regardless, in this work we do see the brilliant coloration, exaggerated movement, and theatrical “staging” typical of Cortona’s mythological scenes.
Notice how the saturated colors of the soldiers’ accoutrement (brilliant gold shield, silvery cuirasses, red sword sheath, and cloak) provide a vivid contrast to the soft hues of Sarah’s costuming. She is obviously the focal point of the picture. Her strong diagonal body position, sweeping gestures, and backward glance toward her husband Abraham are all in opposition to the soldiers’ dynamic movement toward the “castle-like” structure on the left. This is indeed an unfolding drama, illustrating what art historians like John Canaday describe as the “swooning emotionalism” of the High Baroque style. Although Courtois’ stylistic technique certainly adds power and beauty to the visual narrative, the Biblical text on which the painting is based is far more nuanced in unfolding the narrative’s historical and spiritual context.
In Genesis 12:9-28, Abraham is not a “background figure” but the catalyst for the narrative’s action. While journeying toward Canaan, the patriarch and his entourage encounter a severe famine. Rather than trust God’s continued provision, Abraham decides to “go down to Egypt.” But before entering this potentially hostile territory, he instructs his wife Sarah to equivocate regarding their relationship, explaining to her his rationale: “You are a beautiful woman, and I fear that when the Egyptians see you, they will learn that you are my wife, kill me, and let you live. Say you are my sister, so that I will be treated well for your sake and my life will be spared.” As expected, Pharoah’s officials did indeed take note of Sarah and praise her beauty to Pharaoh who (believing she was Abraham’s sister) took her into his harem and treated Abraham well for her sake. However, God’s judgment on the unsuspecting Pharaoh and his household was swift, and he soon discerned that Abraham had lied. Summoning the patriarch he demanded, “What is this you have done unto me? Why did you not tell me that she was thy wife? I might have taken her to me to wife: now therefore, . . . take her, and go thy way.” His actions had not only failed to provide refuge during the famine but won him a powerful enemy further complicating his situation! It was a valuable lesson.
Fig. 1 Adoration of the Magi
In the 1660s Guillaume moved toward a more Classical style of painting. During this stage in his career, he produced numerous preparatory studies for each work, generally drawn in red or black chalk. The preparatory sketch for the Adoration of the Magi illustrates not only the artist’s stylistic shift but also his considerable skill as a draughtsman. This study was completed for an engraving reproduced in a missal book printed in Rome in 1662. Such books (many of which are now lost) often included engravings by leading Italian painters of the time. Peter Vergo notes that Guillaume Courtois “shows himself to be a draughtsman of great distinction. His style of drawing is much enriched in his final years through the use of several colored chalk drawings upon tinted paper. Thereby providing pastel-like effects. His development broke off at its climax. He died at the age of 51.”
Donnalynn Hess, Director of Education
Works Cited:
John Canaday. Metropolitan Seminars in Art: Great Periods in Painting. Metropolitan Museum of Art Publications. 1959.
Ian Chilvers. Concise Dictionary of Art and Artists, 3rd edition. Oxford University Press. 2003.
Hanno-Walter Kruft. “Drawings by Borgognone and Baciccia in the Dusseldorf Kupoferstichkabinett,” The Burlington Magazine, Vol. 119, No. 887 (Feb., 1977).
Stefano, Zuffi (Ed.). Baroque Painting: Twenty Centuries of Masterpieces from the Era Preceding the Dawn of Modern Art. Electa. 1999.
Published 2026
Antiphonary
Italian, 16th century
Below the image, click play to listen.
This object is currently on display in Mack Library.
Below the image, click play to listen.
The Old Master Painting Collection
The Museum & Gallery’s Old Master painting collection provides a rare viewer experience outside European cities and metropolitan areas with beautiful masterworks by recognized artists and their students—all of which are aesthetically exhibited with period furniture, sculpture, and tapestries to lend a period ambiance to the galleries and give patrons a panoramic view of ages past. Of special note, M&G’s baroque paintings represent some of the most important artists and their works in the country.
The Collection is one of the largest and most interesting collections of European Old Master paintings in America. These works of art from the 14th through the 19th centuries beautifully trace the religious, artistic, and cultural history of Western Europe. Included are important works of many major artists such as Vannuccio, Botticelli, Cranach, Gerard David, Rubens, van Dyck, Reni, Domenichino, Guercino, Murillo, Ribera, Honthorst, and Doré. For a glimpse, view this virtual tour.
Patrons can also enjoy M&G’s Bowen Collection of Antiquities with artifacts that span 37 centuries and represent every day life from ancient Egyptian, Roman, and Hebrew cultures; and the Benjamin West Collection, a series of paintings housed in the War Memorial Chapel (on the campus of Bob Jones University).
M&G’s Russian Icon Collection, which dates from the 14th through 20th centuries and includes several icons once owned by members of the Romanov family, the last tsars of Russia.
While not all of the collections are available online, we continue to add more monthly. You can see some of the individual works and objects through articles, short video clips, and audio stops. OR view the variety of Collection objects currently available online here.
Majolica Vases
Glazed terracotta
Italian, 16th or 17th century
Earthenware that has been coated with a white glaze and then decorated with other pigmented glazes was first made in Africa around the 6th century. By the 13th century multi-colored designs were possible. A final clear glaze added luster and insured the pieces were watertight. Large quantities of decorative earthenware were produced in Africa and Spain and passed through ports on the island of Majorca on their way to Italy. Thinking the colorfully painted pieces had originated in Majorca, Italians called them majolica.
By the 16th century, techniques for producing majolica had reached Italy. As would be expected, Italian ceramicists stretched the artistic limits of the medium. Although many early majolica pieces were purely functional and received little decoration, others were elaborately decorated and served as status symbols. In wealthy homes large collections of vibrant dishes, bowls, platters, pitchers, jars, and vases were displayed and used to impress guests.
However, many Renaissance majolica containers were used for storage. In the kitchen, these useful jars stored liquids, grains, nuts, dried fruits and the like. What an apothecary of the period might keep in one can only be imagined. Generally larger majolica containers did not have lids. They usually have a short neck, and the opening has an everted edge, allowing the jar to be covered with cloth, paper, or leather and tied in place over the mouth with a string or strap around the jar’s neck.
Smaller Renaissance majolica containers were rectangular boxes or cylinders with concave sides. The lack of handles permitted them to be stored close together on a shelf, and their shape allowed handling without slipping. Larger vessels were generally spherical or, like M&G’s, ovoid with the smaller end toward the bottom. Today these larger containers are often called majolica vases, though their original purpose wasn’t decorative.
Smaller majolica vases could be picked up by putting hands under the wide part of the vase. M&G’s 15½-inch tall and 13-inch diameter vases are considered large. Each vase weighs nearly 12 lbs. and holds about 4.5 gallons of liquid. A full vase would weigh nearly 50 lbs., which would require considerable strength and balance to lift and carry.
M&G’s Majolica Vases have a 5-inch diameter opening. Although the rounded lips would aid in pouring, the mouth is wide enough for a hand or a ladle to access the contents.
The decoration on M&G’s vases includes white, daisy-like flowers with a blue ring around the darker center. These flowers with scrolling foliage (sometimes protruding through the flower) and swirling, plume-like shapes are common on Italian Renaissance containers. The blue background would have been painted after the design of the floral decoration. The short, irregular white curves were inscribed into the blue areas before it was fired. Because of the stability of the pigments and the clear glaze, the colors are still vibrant.
Prior to the 1800s few European ceramics have an identifying mark or a signature, and it is extremely rare for any Italian Renaissance piece to be signed or dated. Documented provenance would help determine age and origin or perhaps a design with a family crest or istoriato (having a portrait or a historical or biblical image). However, typical of most such pieces, M&G’s vases lack marks and embellishments, and their provenance extends to just under 100 years.
The opinions of museum curators and experts which specialize in the genre are the primary remaining source for information. M&G’s vases have been examined by experts, who believe the vases were made in Sicily during the late 16th or early 17th century.
Renaissance majolica is strong, but it can easily be broken. For a pair of large vases to have endured 400 years is remarkable, especially surviving their practical role and years spent in cellars and storerooms. Today museums proudly display glued-together objects of Italian Renaissance majolica, even if they are missing sections of the piece. M&G’s large and unbroken Majolica Vases are a treasure indeed.
William Pinkston, retired educator and M&G volunteer
Special thanks to students from the Honors Geometry classes of Bob Jones Academy for determining the vase volume and weight.
Published 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
St. Sebastian
Oil on panel, c. 1529–30
Andrea d’Agnolo, called del Sarto (studio of)
Florentine, 1486–1530
Andrea d’Agnolo grew up in Florence and was nicknamed del Sarto meaning “of the tailor” after his father’s profession. Like other early Renaissance artists, he initially trained with a goldsmith, then studied under a series of three separate painters until he began producing his own works in 1506. He spent most of his life in Florence—except for a visit to Rome and a brief stint as court painter to King François I at Fontainebleau in 1518.
As the son of a tailor, del Sarto’s works reveal a unique understanding and love of fabrics—even seen in his 1517-1518 Portrait of a Young Man in London’s National Gallery, which may be a self-portrait (on right). Notice the finishes of the puffed sleeve, ruched white undershirt, and the vest’s seam at the shoulder.
Andrea was also influenced by his contemporaries who outlived him: Leonardo da Vinci, Michelangelo, and Raphael. Once these masters left Florence for other parts of Italy, Andrea became Florence’s leading artist in the early 1500s. He is overlooked in art history; yet he is equal in skill and quality to the three greats, and his works are beautiful and still revered today. Julian Brooks, curator of drawings at the Getty, recognizes del Sarto as the “revolutionary engine of the Renaissance and the transformer of draughtsmanship” due to his careful and creative preparatory drawings, a practice which inspired the next generations of artists to follow.
However, he has been underappreciated, even to the point of his students overshadowing him to become famous including Rosso Fiorentino, Jacopo da Pontormo, and Giorgio Vasari, biographer of contemporary Renaissance artists. Vasari records details about his teacher as related to M&G’s work. A Florentine charitable organization for plague victims, the Company of St. Sebastian commissioned Andrea del Sarto to paint a picture of St. Sebastian, the patron saint for plague victims. He became a member of the Company in February 1529, perhaps as a result of negotiations surrounding the commission. Ironically, shortly after completing the painting in 1530 during Florence’s plague epidemic, del Sarto died from the plague at 44 years old.
Several 17th-century documents list the original St. Sebastian as the property of the Company of St. Sebastian. Publications in 1759 and 1770 mention that the painting moved to the Pitti Palace in Florence. By the early 19th century, writers could no longer trace the location of the original painting—apparently it was removed from the Pitti Palace and lost.
M&G acquired St. Sebastian in 1970 from the former great British collection of the Cook family. In 2005, the National Gallery of Canada requested St. Sebastian to participate in an exhibition, and we sent our work in advance for study and conservation. The conservator Stephen Gritt found, “In its materials and construction, the painting is entirely consistent with one from Sarto’s workshop. The complete absence of any change in the design from the drawing stage on the panel through to the painting would indicate perhaps that the design had reached a point of satisfactory refinement by the time this version was produced. While this may mean that some artist other than Sarto could have painted the work, it does not exclude his participation in its production as a supervisor.”
Regarding del Sarto’s workshop practice, Julian Brooks notes that “Andrea would have been closely involved in the production of all versions, or at least those produced in his workshop during his lifetime, and these were produced side by side in the studio.” He also made, used, and reused partial cartoons.
It is difficult to confidently confirm if M&G’s St. Sebastian is the missing painting by the master, thus the current attribution, studio of Andrea del Sarto. At the least, someone very close to del Sarto painted the work. Found in Italy, Spain, England, and Austria, more than 10 other variants of the St. Sebastian exist. Even so, M&G’s is considered by specialists as the “best surviving reflection of the original.”
Erin R. Jones, Executive Director
Resources:
- Getty: www.getty.edu/art/collection/person/103JXC
- Julian Brooks’ lecture for the 2019 exhibition at the Frick, Andrea del Sarto: The Tailor’s Son and the Making of Masterpieces: www.youtube.com/watch?v=PJSkeIJgdzw
- Leonardo Da Vinci, Michelangelo, and the Renaissance in Florence, edited by David Franklin
- Andrea del Sarto: The Renaissance Workshop in Action, Julian Brooks with Denise Allen and Xavier F. Salomon
Published 2023
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.
Tuck-Scala, Anna Kiyomi. “The Documented Paintings and Life of Andrea Vaccaro (1604-1670),” 2003.
Published 2022
